800:) crew. Beat juggling essentially involves the manipulation of two identical or different drum patterns on two different turntables via the mixer to create a new pattern. A simple example would be to use two copies of the same drum pattern to evolve the pattern by doubling the snares, syncopating the drum kick, adding rhythm and variation to the existing pattern. From this concept, which Steve Dee showcased in the early 1990s at DJ battles, Beat Juggling evolved throughout the decade to the point where by the end of it, it had become an intricate technique to create entirely new "beats" and rhythms out of existing, pre-recorded ones (van Veen & Attias, 2012). These were now not just limited to using drum patterns, but could also consist of other sounds – the ultimate aim being to create a new rhythm out of the pre-recorded existing ones. While beat juggling is not as popular as scratching due to the more demanding rhythmical knowledge it requires, it has proved popular within DJ battles and in certain compositional situations (van Veen & Attias, 2012).
1366:, focused on gender in relation to musical performers and creators, and specifically on educational frameworks as they relate to both. She suggests that women's alienation from fields with strong technical aspects such as DJing, sound engineering and music producing should not only be attributed to a feminine dislike towards these instruments. Instead she argues that women entering these fields are forced to complete the difficult task of disrupting a dominant masculine sphere. Despite this, women and girls do increasingly engage in turntable and DJ practices, individually and collectively, and "carve out spaces for themselves in EDM and DJ Culture". There are various projects dedicated to the promotion and support of these practices such as Female DJs London. Some artists and collectives go beyond these practices to be more gender inclusive. For example,
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604:, transforming was basically clicking the fader on and off while moving a block of sound (a riff or a short verbal phrase) across the stylus. Expanding the tonal as well as rhythmic possibilities of scratching, the transformer scratch epitomized the chopped-up aesthetic of hip hop culture. Hip hop was starting to become big money and the cult of personality started to take over. Hip hop became very much at the service of the rapper and Cash Money and DJ Jazzy Jeff were accorded maybe one track on an album – for example, DJ Jazzy Jeff's "
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573:, was an integral part of the group since his turntablism was critical to Run DMC's productions and performances. While Flash and Bambaataa were using the turntable to explore repetition, alter rhythm and create the instrumental stabs and punch phrasing that would come to characterize the sound of hip hop, Grandmaster DST was busy cutting "real" musicians on their own turf. His scratching on Herbie Hancock's 1983 single, "Rockit", makes it perhaps the most influential DJ track of them all – even more than (Grandmaster Flash's) "
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routine (A combination of various technical scratches, beat juggles, and other elements, including body tricks) within a limited time period, after which the routine is judged by a panel of experts. The winner is selected based upon score. These organized competitions evolved from actual old school "battles" where DJs challenged each other at parties, and the "judge" was usually the audience, who would indicate their collective will by cheering louder for the DJ they thought performed better. The
1104:. Usually when someone is referring to an orbit, they are most likely talking about flare orbits. For example, A 1 click forward flare and a 1 click backward flare in quick succession (altogether creating 4 very quick distinct sounds) would be a 1 click orbit. A 2 click forward flare and a 2 click backward flare in quick succession (altogether creating 6 very distinct sounds) would be a 2 click orbit, etc. Orbits can be performed once as a single orbit move, or sequenced to produce a
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DJing aspect of the art form by combining turntablist skills with the trademark skills of club DJs, while others explored alternative routes in utilizing the turntable as an instrument or production tool solely for the purpose of making music – either by using solely the turntable or by incorporating it into the production process alongside tools such as drum machines, samplers, computer software, and so on. Digital turntablism techniques later was coined into a term called
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underground and were cultivated and built upon by a generation of people who grew up with hip hop, DJs and scratching. By the mid-90s the disappearance of the DJ in hip hop had created a sub-culture which would come to be known as turntablism and which focused entirely on the DJ using his turntables and a mixer to manipulate sounds and create music. By pushing the practice of DJing away, hip hop created the grounds for this sub-culture to evolve (Greasley & Prior, 2013).
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1203:. It is one of the most difficult scratch techniques to master. The crab is done by pushing the record forward and back while pushing the crossfader mixer open or closed through a quick succession of 4 movements with the fingers. Variations can also include 3 or 2 fingers, and generally it is recommended for beginners to start with 2 fingers and work their way to 4. It is a difficult move to master but also versatile and quite rewarding if done right.
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extremely quickly in the middle of the forward stroke creating two distinct sounds in one stroke of your record hand and ending with the fader open. In the same manner, 2 clicks, 3 clicks, and even more clicks (if a DJ is fast enough) can be performed to do different types of flares. The discovery and development of the flare scratch was instrumental in elevating this art form to the level of speed and technical scratching that is seen in the 2010s.
501:". Briefly, the "break" of a song is a musical fragment only seconds in length, which typically takes the form of an "interlude" in which all or most of the music stops except for the percussion. Kool Herc introduced the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the same record, finding the break on each record, and switching from one to the other using the DJ mixer: e.g., as record
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study suggests the proficient hip-hop DJ must possess similar kinds of skills as those required by trained musicians, not limited to a sense of timing, hand–eye coordination, technical competence and musical creativity. By the year 2000, turntablism and turntablists had become widely publicized and accepted in the mainstream and within hip hop as valid artists. Through this recognition came further evolution.
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1013:(van Veen & Attias, 2012). Arguably, this combination of distortion and audial effects against the original recording grants greater freedom of improvisation to the DJ than did the previous forms of turntablism. Via the ChopNotSlop movement, "Chopped and screwed" has also been applied to other genres of music such as R&B and rock music, thus transcending its roots within the hip-hop genre.
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561:". These early pioneers cemented the fundamental practice that would later become the emerging turntablist art form. Scratching would during the 1980s become a staple of hip hop music, being used by producers and DJs on records and in live shows. By the end of the 1980s it was very common to hear scratching on a record, generally as part of the chorus of a track or within its production.
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98:) so that a wider audience can hear the turntablist's music. Turntablists typically manipulate records on a turntable by moving the record with their hand to cue the stylus to exact points on a record, and by touching or moving the platter or record to stop, slow down, speed up or, spin the record backwards, or moving the turntable platter back and forth (the popular rhythmic "
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This form of turntablism, which is usually applied to prior studio recordings (in the form of custom mixtapes) and is not prominent as a feature of live performances, de-emphasizes the role of the rapper, singer or other vocalist by distorting the vocalist's voice along with the rest of the recording
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features a turntable as the solo instrument, complemented by a full symphony orchestra. This arrangement necessitated the development of "scratch notation" by DJ Radar to transcribe his turntable manipulations into a format readable by classically trained musicians. This innovative scoring method was
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This evolution took many shapes and forms: some continued to concentrate on the foundations of the art form and its original links to hip hop culture, some became producers utilizing the skills they'd learnt as turntablists and incorporating those into their productions, some concentrated more on the
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By the mid- to late 1990s the terms "turntablism" and "turntablist" had become established and accepted to define the practice and practitioner of using turntables and a mixer to create or manipulate sounds and music. This could be done by scratching a record or manipulating the rhythms on the record
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and D-Styles. And this is part of where this whole thing about turntablist came from. This was a time where all these new techniques were coming out, like flares and stuff, and there were probably 20 people or so, in around
California between Frisco and LA, who knew about these. So we worked on them,
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Kool Herc's revolutionary techniques set the course for the development of turntablism as an art form in significant ways. Most important, however, he developed a new form of DJing that did not consist of just playing and mixing records one after the other. The type of DJ that specializes in mixing a
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sphere, a male-centric culture has contributed to the marginalisation of women who seek to engage and contribute. Whilst turntablism and broader DJ practices should not be conflated, Katz suggests that the broad use, or lack of use, of the turntable by women across genres and disciplines is impacted
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Like many other musical instrumentalists, turntablists compete to see who can develop the fastest, most innovative and most creative approaches to their instrument. The selection of a champion comes from the culmination of battles between turntablists. Battling involves each turntablist performing a
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Each time the DJ bounces the fader off the side of the fader slot it makes a distinct clicking noise. For this reason, flares are named according to clicks. A simple one click forward flare would be a forward scratch starting with the sound on as the DJ bounces/clicks the fader against the side once
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Robert Earl Davis of Texas, innovated the art of chopping and screwing coining the phrase "chopped n screwed", taking original contemporary hit records and replaying them in the "chopped n screwed" art form. This gained a very large following finally paving the way for small, independent rap labels
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with a variety of sounds. The evolution of scratching from a fairly simple sound and simple rhythmic cadences to more complicated sounds and more intricate rhythmical patterns allowed the practitioners to further evolve what could be done with scratching musically. These new ways of scratching were
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concurs in her writing on female engagement with engineering technology. Oldenziel argues that socialization is a central factor in the lack of female engagement with technology, insisting that the historical socialisation of boys as technophiles has contributed to the prevalence of men who engage
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in 1987. This scratch technique is much like the "transform" in some ways, only instead of starting with the sound that is cutting up off, one starts with the sound on and concentrate on cutting the sound into pieces by bouncing the fader off the cut outside of the fader slot to make the sound cut
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forward while simultaneously closing the previously opened channel ending the first sound. Then, in a reverse fashion, the DJ opens the channel while moving the record backwards creating a more controlled sounding "baby scratch". Done in quick succession it sounds as though a chirp sound is being
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in that one does not need the fader to perform it, but unlike a baby scratch, when the DJ pulls the record back he or she pauses his or her hand for a split second in the middle of the stroke. The result is one forward sound and two distinct backward sounds. This scratch can also be performed by
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One of the earliest academic studies of turntablism (White 1996) argued for its designation as a legitimate electronic musical instrument—a manual analog sampler—and described turntable techniques such as backspinning, cutting, scratching and blending as basic tools for most hip hop DJs. White's
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and other studio techniques that would ultimately push the DJ further away from the original hip-hop equation of the MC as the vocalist and the DJ as the music provider alongside the producer. This push and disappearance of the DJ meant that the practices of the DJ, such as scratching, went back
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The appearance of turntablists and the birth of turntablism was prompted by one major factor – the disappearance or downplaying of the role of the DJ in hip-hop groups, on records and in live shows at the turn of the 1990s. This disappearance has been widely documented in books and documentaries
166:" was the one who originally coined the term "turntablist". In 1995 while working on the groundbreaking mixtape "Comprehension", DJ Babu hand wrote the name "Babu The Turntablist" on hundreds of copies of this mixtape to describe his style of DJing, while working on the track "Turntablism" with "
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a sequence for his own purposes, introducing the idea of the DJ as the "feature" of parties, whose performance on any given night would be different from on another night, because the music would be created by the DJ, mixing a bassline from one song with a beat from another song (Greasley &
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experimented with turntables even earlier in 1930, though he never formally produced any works using them. Though this school of thought and practice is not directly linked to the 1970s–2010 definition of turntablism within hip hop and DJ culture, it has had an influence on modern experimental
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A "stab" is quite similar to the chirp technique but requires the crossfade mixer to be "closed". The stab requires the user to push the record forward and back quickly and moving the crossfade mixer with a thumb pressed against it, which results in minimal sound coming out, producing a sharp
1344:, the low percentage of women DJs and turntablists may stem from the overall male domination of the entire hip hop music industry. Most of the top rappers, MCs, DJs, record producers and music executives are men. There are a small number of high-profile women, but they are rare. In 2007,
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industry. Ncube claimed that "inety-five percent of music producers are male" and that female producers are less well-known than their male counterparts despite accomplishing great feats within the music industry. The vast majority of students in music technology programs are male.
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or other types, because the belt can be stretched or damaged by "scratching" and other turntable manipulation such as slowing down a record, whereas a direct drive turntable can be stopped, slowed down, or spun backwards without damaging the electric motor. The word
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Visual elements may be linked to turntable movement, incorporating digital media including photographs, graphic stills, film, video, and computer-generated effects into live performance. A separate video mixer is used in combination with the turntable. In 2005 the
110:'s crossfader control and the mixer's gain and equalization controls to adjust the sound and level of each turntable. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records (Greasley & Prior, 2013).
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On stage the DJ would provide the music for the MCs to rhyme and rap to, scratching records during the performance and showcasing his or her skills alongside the verbal skills of the MC. The most well known example of this 'equation' of MCs and DJ is probably
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to describe the difference between a DJ who simply plays and mixes records and one who performs by physically manipulating the records, stylus, turntables, turntable speed controls and mixer to produce new sounds. The new term coincided with the resurgence of
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were unsuitable for turntablism, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspinning or scratching. The first direct-drive turntable was invented by
Shuichi Obata, an engineer at
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rather than normal turntables, "chopped and screwed" stood out from previous standards of turntablism in its slowing of the pitch and tempo ("screwing") and syncopated beat skipping ("chopping"), among other added effects of sound manipulation.
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music professor Mark Katz's article stated that it is rare for women to compete in turntable battles and that this gender disparity has become a topic of conversation among the hip-hop DJ community. In 2010, Rebekah
Farrugia stated that in the
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More sophisticated methods of scratching were developed during that decade, with crews and individual DJs concentrating on the manipulation of the record in time with the manipulation of the cross fader on the mixer to create new rhythms and
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It was around 95, I was heavily into the whole battling thing, working on the tables constantly, mastering new techniques and scratches... made this mixtape called "Comprehension", and on there was a track called "Turntablism" which featured
692:", was responsible for coining and spreading the term turntablist after inscribing it on his mixtapes as"Babu the Turntablist" and passing them around. Another claim credits DJ Supreme, 1991 World Supremacy Champion and DJ for
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even if the DJ wiggled the record back and forth on the platter. Since then, turntablism spread widely in hip hop culture, and the SL-1200 remained the most widely used turntable in DJ culture for the next several decades.
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822:, which inspired a movement of new digital DJs such as DJ Buddy Holly and Moldover. DJ Buddy and Moldover went on to create a song called "Controllerism" that pays homage to the sound of digitally emulated turntablism.
672:), books (DJ Culture), conferences (Skratchcon 2000) and interviews in online and printed magazines. These facts are that the origins of the words most likely lay with practitioners on the US West Coast, centered on the
541:. He put his hand on a record one day, to silence the music on the turntable while his mother was calling out to him and thus accidentally discovered the sound of scratching by moving the record back and forth under the
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The underground movement of turntablism has also emerged to focus on the skills of the DJ. In the 2010s, there are turntablism competitions, where turntablists demonstrate advanced beat juggling and scratching skills.
581:'s "Break Dancin' – Electric Boogie" (1983) was punk negation. As great as "Break Dancin'" was, though, it highlighted the limited tonal range of scratching, which was in danger of becoming a short-lived fad like
170:" and DJ Melo-D, Babu would say "if someone plays the piano, we call them a pianist, if someone plays the guitar, we call them a guitarist, why don't we call ourselves Turntablists?" found in the documentary "
952:, symbolizing its acceptance into the classical music tradition. The project was initially supported by Red Bull, which helped to sponsor its development and the premiere performance. The concerto debuted at
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doing the opposite and placing the pause on the forward stroke instead. A basic tear is usually performed with the crossfader open the entire time, but it can also be combined with other scratches such as
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The premiere at
Carnegie Hall was met with enthusiastic responses, highlighting the potential of digital instruments within classical music settings and demonstrating the artistic validity of turntablism.
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DJing is generally regarded as the foundational development in hip hop history, as it gave rise to all other elements of the genre. His influence on the concept of "DJ as turntablist" is equally profound.
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at a specific moment where the audience will not notice that the DJ has switched records. Using that idea, Grandmaster Flash elaborated on Kool Herc's invention of break-beat DJing and came up with the
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has been hosted since 1985. There are separate competitions for solo DJs and DJ teams, the title of World
Champion being bestowed on the winners of each. They also maintain a turntablism hall of fame.
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is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and quick movement of the crossfader. The flare was invented by its namesake,
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is a type of scratch used by turntablists. It is generally any scratch that incorporates both a forward and backward movement, or vice versa, of the record in sequence. The orbit was developed by
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is also credited with furthering the concept of scratching by practicing the rhythmic scratching of a record on one or more turntables (often two), using different velocities to alter the
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either by drumming, looping or beat juggling. The decade of the 1990s is also important in shaping the turntablist art form and culture as it saw the emergence of pioneering artists (
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culture. Dub music introduced the techniques of mixing and scratching vinyl, which
Jamaican immigrants introduced to American hip hop culture in the early 1970s. Beyond dub music,
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881:, who originally developed many of the concepts and techniques that evolved into modern turntablism. Within the realm of hip hop, notable modern turntablists are the cinematic
441:, which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972. It was adopted by New York City hip hop DJs such as
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to New York City. He introduced turntable techniques from
Jamaican dub music, while developing new techniques made possible by the direct-drive turntable technology of the
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The origin of the terms turntablist and turntablism are widely contested and argued about, but over the years some facts have been established by various documentaries (
1322:. However, there are relatively few women DJs or turntablists. Part of this may stem from a general low percentage of women in audio technology-related jobs. In a 2013
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A "chirp" is a type of scratch used by turntablists. It is made with a mix of moving the record and incorporating movement with the crossfade mixer. It was invented by
755:) and the evolution of scratching and other turntablism practices such as Beat Juggling which are viewable in the IDA (International DJ Association/ITF) World Finals.
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he set up after emigrating to New York. The signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the
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in the 1970s. As they experimented with the SL-1200 decks, they developed scratching techniques when they found that the motor would continue to spin at the correct
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series of turntables. In 1971, Matsushita released the
Technics SL-1100. Due to its strong motor, durability, and fidelity, it was adopted by early hip hop artists.
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set is well respected for his/her own set of unique skills, but playlist mixing is still DJing in the traditional sense. Kool Herc instead originated the idea of
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N.A.S.A. (DJ Zegon & Squeak E. Clean). The DJ on the left can be seen cuing up a part of a record by listening to the cue channel on one of his headphones.
545:. Though Theodore discovered scratching, it was Flash who helped push the early concept and showcase it to the public, in his live shows and on recordings. DJ
395:, Japan. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the
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948:, this composition showcases a unique melding of electronic and orchestral music elements. The concerto was first performed in notable venues including
1370:, a New York-based collective and booking agency, describe themselves as "representing and showcasing cis women, trans women and genderqueer talent."
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is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and repeated movement of the
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to turn a decent profit. However, it is thought by many that DJ Michael Price started slowing down vinyl recordings before the era of DJ Screw.
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Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s. This was most prominent in
Jamaican
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are widely credited for having cemented the now established role of DJ as hip hop's foremost instrumentalist. Kool Herc's invention of
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shows the standard turntablist technique of manipulating the record with one hand while the other hand adjusts the controls on the
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Despite New York's continued pre-eminence in the hip-hop world, scratch DJing was modernized less than 100 miles down the road in
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1167:. The scratch is somewhat difficult to perform because it takes a good amount of coordination. The scratch starts out with the
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is a type of scratch used by turntablists. It is made from moving the record on the turntable by hand. The tear is much like a
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is a groundbreaking musical work that integrates the art of turntablism with classical music composition. Co-created by
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Starting in the 1980s in the
Southern United States and burgeoning in the 2000s, a meta-genre of hip hop called "
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with other performers. Depending on the records and tracks selected by the DJ and their turntablist style (e.g.,
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described the art: "A phonograph in the hands of a 'hiphop/scratch' artist who plays a record like an electronic
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2306:"Boys and Their Toys: The Fisher Body Craftsman's Guild, 1930–1968, and the Making of a Male Technical Domain"
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Prior, 2013). The DJ would be examined critically by the crowd on both a technical and entertainment level.
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reproduced—the record player becomes a musical instrument." Some turntablists use turntable techniques like
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592:, where the climate for the return of the DJ was created by inventing transformer scratching. Developed by
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Turntablism as a modern art form and musical practice has its roots within African-American inner city
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for example by doing tears with the record hand and cutting the sound in and out with the fader hand.
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612:" (1988) and Cash Money's "The Music Maker" (1988). Other crucial DJ tracks from this period include
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talked about it and kicked about the ideas that these techniques and new ways of scratching gave us.
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Australian Broadcasting Corporation. A 1979 radio report on the "new" phenomenon of turntablism.
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To understand the significance of this achievement, it is important to first define the "
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or beat loops, atmospheric "pads", "stabs" of sudden chords or interwoven melodic lines.
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Katz, Mark (December 12, 2007). "Men, Women, and Turntables: Gender and the DJ Battle".
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crucial for integrating the turntable's electronic sounds with the acoustic orchestra.
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1625:. Stockholm: Skolan för datavetenskap och kommunikation, Kungliga Tekniska högskolan.
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have achieved great success in singing and songwriting roles, with top examples being
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399:, the first direct-drive turntable on the market, and the first in their influential
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1590:"What is Turntablism? | Turntablism Artists | Turntablist vs DJ | Turntablism Songs"
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until the emergence of Code Money's DJ Brethren from Philadelphia in the mid-1980s.
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A DJ vinyl turntable system, consisting of two turntables and a crossfader-equipped
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Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture
1992:
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World final introduced the 'Experimental' category to recognise visual artistry.
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522:. He described it as being "...like cutting, the backspin, and the double-back."
348:
306:. Turntablism as it is known today, however, did not surface until the advent of
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A "crab" is a type of scratch used by turntablists and originally developed by
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of the note or sound on the recording (Alberts 2002). DXT appeared (as DST) on
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142:). After a phone conversation with Disk, it was later popularised in 1995 by
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2598:. Rev. ed. Berkeley: University of California Press, 2010, pp. 124–45.
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albums showed that the turntablist can perfectly fit within a jazz setting.
78:, mixes and other creative sounds and beats, typically by using two or more
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DJ Aron Scott DJing a set for a French radio station. He is using digital
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Turntablists, who are often called DJs (or "deejays"), generally prefer
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707:" added the following comments about the birth and spread of the term:
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617:
616:'s DJ Too Tuff's "Behold the Detonator" "Soul Food" (both 1989)", and
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566:
538:
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344:
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216:), a turntablist can create rhythmic accompaniment, percussion breaks,
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The acoustics and performance of DJ scratching, analysis and modelling
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and create music that was entirely produced by the turntable. Cage's
256:
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2594:
Katz, Mark. "The Turntable as Weapon: Understanding the DJ Battle."
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2645:. 2001. A documentary about the History and Culture of Turntablism.
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1101:
1005:
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732:
696:. The truth most likely lies somewhere in between all these facts.
467:
217:
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107:
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36:
2564:
The Phonograph Turntable and Performance Practice in Hip Hop Music
5146:
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3743:
3713:
3172:
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2799:
1809:"The Technics 1200 — Hammer Of The Gods [XXL, Fall 1998]"
1687:. The Continuum International Publishing Group Inc. p. 132.
1387:
1319:
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704:
685:
677:
411:
307:
155:
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51:
World premiere of the Tri-Phonic Turntable, July 14, 1997, London
1147:
426:' favorite section, switching back and forth between the two to
55:
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New DJs, turntablists and crews owe a distinct debt to pioneer
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318:
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909:(begun in 1989 as Shadow of the Prophet) and later DJ for the
247:
has its roots dating back to the 1930s, 1940s, and 1950s when
154:
According to most DJ historians, it has been documented that "
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3648:
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785:, other practices such as drumming (or scratch drumming) and
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plays, the DJ quickly backtracks to the same break on record
392:
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was a founding member of the influential turntablist group
890:
825:
518:, in which Flash sectioned off a part of the record like a
3141:
2469:
2009:
Can't Stop Won't Stop: A History of the Hip-Hop Generation
74:
is the art of manipulating sounds and creating new music,
2717:
1923:"History of the Record Player Part II: The Rise and Fall"
1328:
article Rosina Ncube attested that few women work in the
1274:
830:
2582:
More Brilliant than the Sun. Adventures in Sonic Fiction
2436:"9 All-Female DJ Collectives You Need To Know Right Now"
1767:
Collins, Nick; Schedel, Margaret; Wilson, Scott (2013).
1270:
1681:"Bettered by the Borrower: The Ethics of Musical Debt"
1045:, comes from its similarity to the sound made by the
684:, was the first to coin the term, others claim that "
2611:
Groove Music: The Art and Culture of the Hip Hop DJ.
1766:
1738:
Computers in Music Education: Amplifying Musicality
1567:"The Art Of Turntablism | History Detectives | PBS"
627:
2186:"Hip Hop Family Tree: DJ Jazzy Jeff / Boing Boing"
789:were also evolved significantly during the 1990s.
2596:Capturing Sound: How Technology has Changed Music
2022:"Brown cellist joins turntables in Carnegie Hall"
1708:Collins, Nick; RincĂłn, Julio d' Escrivan (2007).
1618:
569:who were composed of two MCs and one DJ. The DJ,
481:(a Jamaican DJ who immigrated to New York City),
5383:
2493:Pink Noises: Women on Electronic Music and Sound
2380:"Music – GEA – Gender and Education Association"
1886:
251:composers did experiments with audio equipment.
2546:Scratch and the Hip-Hop Book of Grand Mixer DXT
1587:
1683:. In Christopher Cox and Daniel Warner (ed.).
1298:A DJ mixing two record players at a live event
925:are also known as virtuosi of the turntables.
43:at a turntablism competition in France in 2006
4911:
3157:
2684:
2650:Making Beats: The Art of Sample-based Hip-hop
2216:
2214:
2212:
1978:
1976:
1858:
1838:. Hal Leonard Corporation. 2003. p. 43.
1707:
1269:. Consider transferring direct quotations to
2003:
2001:
374:Turntablism has origins in the invention of
1956:"Six Machines That Changed The Music World"
1773:. Cambridge University Press. p. 105.
1762:
1760:
1758:
1711:The Cambridge Companion to Electronic Music
1037:. The name, which has been associated with
4918:
4904:
3164:
3150:
2691:
2677:
2223:"Sounding Off: Why So Few Women In Audio?"
2209:
2132:"The Slow Life and Fast Death of DJ Screw"
1973:
1887:Pinch, Trevor; Bijsterveld, Karin (2012).
1861:"Tracking the next century's disk spinner"
1835:The World of DJs and the Turntable Culture
1714:. Cambridge University Press. p. 49.
1701:
1653:Newman, Mark "Markski" (January 3, 2003).
1373:
645:), and was linked to the increased use of
359:
27:Art of manipulating sound using turntables
2698:
2614:New York: Oxford University Press, 2012.
2300:
1998:
1916:
1914:
1912:
1910:
1882:
1880:
1878:
1876:
1874:
928:
2272:
1953:
1949:
1947:
1945:
1893:. Oxford University Press. p. 515.
1802:
1800:
1798:
1755:
1293:
1146:
1115:
1020:
824:
461:
339:
337:effect in the song "Walk on the Water".
54:
46:
31:
2490:
1806:
1685:Audio Culture: Readings in Modern Music
833:decks instead of phonograph turntables.
796:, a member of the X-Men (later renamed
437:The most influential turntable was the
192:, produces sounds which are unique and
14:
5384:
4925:
1920:
1907:
1871:
1867:. Nielsen Business Media. p. 140.
1675:
1669:
1362:Lucy Green, professor of music at the
982:
4899:
4858:LGBT representations in hip hop music
3145:
2672:
2374:
2372:
2350:
2296:
2294:
2268:
2266:
2238:
2236:
2220:
1942:
1795:
1734:
1260:too many or overly lengthy quotations
1135:out and then back in a split second.
893:, among others, and the experimental
721:
509:, which will again take the place of
126:is claimed to be originated by Luis "
5361:List of experimental music festivals
2652:. Middletown, CT: Wesleyan UP, 2004.
2570:2 (1996) Retrieved February 4, 2013]
2242:
1995:. Norway: NTNU and Sweden: KTH, p. 4
1890:The Oxford Handbook of Sound Studies
1242:
1220:International Turntablist Federation
2088:"DJ Radar's Concerto for Turntable"
653:
24:
5366:List of electronic music festivals
2574:
2369:
2291:
2263:
2233:
1982:Hansen, Kjetil Falkenberg (2000).
1807:Coleman, Brian (January 7, 2016).
1619:Falkenberg Hansen, Kjetil (2010).
1588:globaldjacademy (March 10, 2019).
1354:by "male technophilia". Historian
1206:
1108:never ending type of orbit sound.
25:
5433:
2656:
2559:. Rough Guides, 2001, p. 96.
2410:"Female Turntablists on the Rise"
239:Recording studio as an instrument
4876:
4875:
2221:Ncube, Rosina (September 2013).
1479:
1465:
1451:
1437:
1423:
1409:
1394:
1380:
1247:
1238:
628:Decline in role of DJ in hip hop
406:A forefather of turntablism was
102:" effect which is a key part of
5300:Experimental musical instrument
2867:Two turntables and a microphone
2629:. London: Quartet Books, 1998.
2584:. London: Quartet Books, 1998.
2509:
2484:
2454:
2428:
2412:. BPMSUPREME TV. Archived from
2402:
2344:
2277:. University of Chicago Press.
2196:
2178:
2153:
2142:
2124:
2102:
2080:
2058:
2036:
2014:
1852:
1826:
971:
624:in Deep Concentration" (1989).
5371:List of experimental musicians
2355:. Cambridge University Press.
1859:Steve Trainan (May 21, 1977).
1728:
1647:
1612:
1581:
1559:
944:, a composer and professor at
792:Beat juggling was invented by
418:, which he used for the first
243:The use of the turntable as a
174:" which was released in 2001.
90:. The mixer is plugged into a
13:
1:
5345:Electroacoustic improvisation
1921:Mayhew, Jess (October 2015).
1552:
758:
232:
4863:Feminist activism in hip hop
2206:. Retrieved October 17, 2007
1346:University of North Carolina
1171:open. The DJ then moves the
1016:
812:
327:Creedence Clearwater Revival
7:
4853:Partner violence in hip hop
3171:
1493:
1225:
355:at Mayhem Festival in 2008.
10:
5438:
2273:Farrugia, Rebekah (2013).
1954:Blashill, Pat (May 2002).
1741:. Routledge. p. 127.
1233:DMC World DJ Championships
1210:
1192:
986:
975:
803:
703:online resource in 2005, "
457:
363:
236:
227:
5353:
5277:
5224:
5139:
5024:
5013:
4933:
4871:
4783:
4742:
4717:
4542:
4477:
4317:Bosnian and Herzegovinian
4290:
4178:
4056:
4045:
4011:
3942:
3931:
3807:
3782:
3692:
3681:
3600:
3553:
3349:
3338:
3330:Bristol underground scene
3297:
3224:
3181:
3103:
3063:Releases and distribution
3062:
3021:
2880:
2710:
2495:. Duke University Press.
1364:University College London
879:the golden age of hip hop
699:In an interview with the
274:Imaginary Landscape No. 1
2872:Vinyl emulation software
2353:Music, Gender, Education
1779:10.1017/CBO9780511820540
1267:summarize the quotations
1142:
1111:
1083:
999:vinyl emulation software
954:Arizona State University
946:Arizona State University
5121:Intelligent dance music
2847:Sound system (Jamaican)
2011:. Picador, 2005, p 113.
1663:March 20, 2009, at the
1500:Audio signal processing
1374:Gallery of turntablists
1188:
1179:
1120:Marlon Williams aka DJ
1062:
376:direct-drive turntables
360:Direct-drive turntables
353:direct-drive turntables
331:self-titled debut album
115:direct-drive turntables
2795:Direct-drive turntable
2568:Ethnomusicology OnLine
2557:Rough Guide to Hip-Hop
2491:Rodgers, Tara (2010).
2384:genderandeducation.com
2310:Technology and Culture
1735:Brown, Andrew (2012).
1656:History of Turntablism
1299:
1160:
1124:
1026:
961:Concerto for Turntable
934:Concerto for Turntable
929:Concerto for Turntable
907:Invisibl Skratch Piklz
834:
769:all given names, from
719:
682:Invisibl Skratch Piklz
674:San Francisco Bay Area
535:Grand Wizzard Theodore
470:
366:Direct-drive turntable
356:
286:sonic/artists such as
140:Invisibl Skratch Piklz
68:
52:
44:
4031:Alternative reggaeton
3310:Universal Zulu Nation
2663:What is New York Rap?
2257:10.1093/musqtl/gdm007
2245:The Musical Quarterly
1991:June 7, 2011, at the
1417:Grand Wizard Theodore
1297:
1150:
1119:
1100:after being shown by
1096:who incorporated the
1024:
847:Grand Wizard Theodore
828:
709:
465:
443:Grand Wizard Theodore
380:belt-drive turntables
343:
106:), all while using a
58:
50:
35:
5305:Experimental luthier
5015:Experimental popular
4796:Contemporary R&B
4605:Minneapolis/St. Paul
2351:Green, Lucy (2008).
2110:"Turntable Symphony"
2090:. September 30, 2005
2068:. September 12, 2002
1520:List of turntablists
688:", a member of the "
610:Jazzy's in the House
434:to a rhythmic beat.
410:, an immigrant from
317:of the 1960s, among
198:beat mixing/matching
151:DJing in the 1990s.
5226:Extended techniques
3400:Chopped and screwed
3305:Five-Percent Nation
2918:Chopped and screwed
2648:Schloss, Joseph G.
2639:Pray, Doug (Dir.).
2552:1/7 (October 2002).
2517:"About – Discwoman"
2204:DMC World Champions
2138:. January 20, 2013.
1185:"stabbing" noise".
995:chopped and screwed
989:Chopped and screwed
983:Chopped and screwed
877:, and other DJs of
477:of the late 1970s.
255:composers (such as
186:phonographic needle
172:Scratch (2001 film)
67:in England in 2005.
18:Transformer scratch
5417:Hip hop production
5407:Musical techniques
5402:Experimental music
5330:Sound installation
5177:Free improvisation
5069:Deconstructed club
4927:Experimental music
3116:Hip hop production
2765:Magnetic cartridge
2442:. February 7, 2016
2302:Oldenziel, Ruth A.
2112:. October 13, 2005
2024:. October 16, 2005
1865:Billboard Magazine
1300:
1161:
1125:
1027:
835:
747:), record labels (
722:Mid- to late 1990s
680:, a member of the
676:. Some claim that
471:
357:
245:musical instrument
69:
53:
45:
5379:
5378:
5315:Progressive music
5295:Data sonification
5220:
5219:
5079:Experimental rock
5037:Avant-garde metal
4893:
4892:
4779:
4778:
4041:
4040:
3927:
3926:
3677:
3676:
3257:Feminist activism
3139:
3138:
3126:Record collecting
2852:Speaker enclosure
2842:Sound system (DJ)
2620:978-0-19-533111-0
2604:978-0-520-26105-1
2544:Alberts, Randy. "
2527:on April 19, 2017
2472:on March 13, 2016
2416:on March 13, 2016
2192:. April 28, 2015.
1900:978-0-19-538894-7
1845:978-0-634-05833-2
1788:978-1-107-01093-2
1748:978-1-135-86598-6
1721:978-0-521-86861-7
1632:978-91-7415-541-9
1594:Global Dj Academy
1431:Grandmaster Flash
1359:with technology.
1334:sound engineering
1330:record production
1292:
1291:
885:, who influenced
855:Grandmaster Flash
583:human beat-boxing
487:Grandmaster Flash
288:Christian Marclay
16:(Redirected from
5429:
5354:Events and lists
5278:Related concepts
5202:Progressive jazz
5074:Experimental pop
5032:Avant-garde jazz
5022:
5021:
4993:Musique concrete
4976:Acousmatic music
4920:
4913:
4906:
4897:
4896:
4884:
4879:
4878:
4746:
4721:
4583:Washington, D.C.
4546:
4481:
4294:
4182:
4060:
4054:
4053:
4049:
4014:
3946:
3940:
3939:
3935:
3879:Na mele paleoleo
3811:
3786:
3696:
3690:
3689:
3685:
3604:
3557:
3353:
3347:
3346:
3342:
3216:
3209:
3202:
3195:
3188:
3175:
3166:
3159:
3152:
3143:
3142:
3104:Related articles
3013:Video scratching
2693:
2686:
2679:
2670:
2669:
2625:Poschardt, Ulf:
2555:Shapiro, Peter.
2537:
2536:
2534:
2532:
2523:. Archived from
2513:
2507:
2506:
2488:
2482:
2481:
2479:
2477:
2468:. Archived from
2466:femaledjs.london
2458:
2452:
2451:
2449:
2447:
2432:
2426:
2425:
2423:
2421:
2406:
2400:
2399:
2397:
2395:
2390:on March 3, 2016
2386:. Archived from
2376:
2367:
2366:
2348:
2342:
2341:
2298:
2289:
2288:
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2260:
2240:
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2136:texasmonthly.com
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1770:Electronic Music
1764:
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1609:
1607:
1605:
1596:. Archived from
1585:
1579:
1578:
1576:
1574:
1563:
1530:Sampling (music)
1487:The X-Ecutioners
1483:
1469:
1455:
1441:
1427:
1413:
1402:Afrika Bambaataa
1398:
1384:
1287:
1284:
1278:
1251:
1250:
1243:
1056:The Transformers
859:Afrika Bambaataa
654:Coining of terms
516:quick-mix theory
483:Afrika Bambaataa
447:Afrika Bambaataa
439:Technics SL-1200
416:Technics SL-1100
370:Technics (brand)
321:in the Jamaican
265:Pierre Schaeffer
249:musique concrète
65:record turntable
59:Record producer
41:record turntable
21:
5437:
5436:
5432:
5431:
5430:
5428:
5427:
5426:
5382:
5381:
5380:
5375:
5349:
5335:Sound sculpture
5273:
5254:Prepared guitar
5239:Circuit bending
5216:
5135:
5018:
5016:
5009:
4971:Electroacoustic
4942:
4939:classical music
4938:
4929:
4924:
4894:
4889:
4882:
4867:
4833:Music sequencer
4775:
4744:
4738:
4719:
4713:
4712:
4678:Outside the US:
4675:
4671:Native American
4544:
4538:
4479:
4473:
4292:
4286:
4180:
4174:
4058:
4048:Regional scenes
4047:
4037:
4012:
4007:
3944:
3933:
3923:
3809:
3803:
3784:
3778:
3749:Psychedelic rap
3694:
3683:
3673:
3602:
3596:
3555:
3549:
3510:Progressive rap
3351:
3340:
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3293:
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3207:
3200:
3193:
3186:
3177:
3173:
3170:
3140:
3135:
3131:Record producer
3099:
3058:
3017:
2948:Harmonic mixing
2876:
2822:Monitor speaker
2775:Monitor speaker
2706:
2697:
2659:
2577:
2575:Further reading
2562:White, Miles. "
2541:
2540:
2530:
2528:
2515:
2514:
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2503:
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2322:10.2307/3106784
2299:
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2241:
2234:
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2197:
2184:
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2179:
2169:
2167:
2161:"DJ Cash Money"
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2107:
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2071:
2069:
2066:"Scratch Fever"
2064:
2063:
2059:
2049:
2047:
2046:. March 2, 2005
2042:
2041:
2037:
2027:
2025:
2020:
2019:
2015:
2006:
1999:
1993:Wayback Machine
1985:Turntable Music
1981:
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1665:Wayback Machine
1652:
1648:
1633:
1617:
1613:
1603:
1601:
1600:on June 9, 2023
1586:
1582:
1572:
1570:
1565:
1564:
1560:
1555:
1540:Vinyl emulation
1496:
1489:
1484:
1475:
1473:Mix Master Mike
1470:
1461:
1456:
1447:
1442:
1433:
1428:
1419:
1414:
1405:
1399:
1390:
1385:
1376:
1308:women musicians
1288:
1282:
1279:
1273:or excerpts to
1264:
1252:
1248:
1241:
1228:
1215:
1209:
1207:Visual elements
1197:
1191:
1182:
1145:
1114:
1086:
1065:
1019:
991:
985:
980:
974:
931:
903:Mix Master Mike
815:
806:
766:sonic artifacts
761:
751:), DJ Battles (
729:Mix Master Mike
724:
656:
630:
606:A Touch of Jazz
579:West Street Mob
575:Wheels of Steel
547:Grand Mixer DXT
460:
372:
362:
296:Otomo Yoshihide
267:) used them to
241:
235:
230:
164:Dilated Peoples
130:" Quintanilla (
63:manipulating a
39:manipulating a
28:
23:
22:
15:
12:
11:
5:
5435:
5425:
5424:
5422:Hip hop genres
5419:
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5259:Prepared piano
5256:
5251:
5249:Plunderphonics
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5244:Frippertronics
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4748:
4745:South American
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4725:
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4700:
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4661:Asian American
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4553:United States:
4551:
4550:
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4545:North American
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4506:
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4491:
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4480:Middle Eastern
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4023:
4017:
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4006:
4005:
4000:
3995:
3990:
3985:
3980:
3979:
3978:
3968:
3967:
3966:
3964:Florida breaks
3961:
3959:Baltimore club
3950:
3948:
3937:
3929:
3928:
3925:
3924:
3922:
3921:
3916:
3911:
3909:Urban Pasifika
3906:
3901:
3896:
3891:
3889:Romany hip hop
3886:
3881:
3876:
3871:
3866:
3861:
3856:
3851:
3846:
3844:Hip hop galsen
3841:
3836:
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3826:
3821:
3815:
3813:
3805:
3804:
3802:
3801:
3796:
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3780:
3779:
3777:
3776:
3771:
3766:
3761:
3756:
3751:
3746:
3741:
3739:New jack swing
3736:
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3721:
3716:
3711:
3706:
3700:
3698:
3687:
3679:
3678:
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3666:
3661:
3656:
3651:
3646:
3641:
3640:
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3634:
3629:
3624:
3622:Brooklyn drill
3614:
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3113:
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3100:
3098:
3097:
3092:
3087:
3082:
3077:
3075:Battle records
3072:
3066:
3064:
3060:
3059:
3057:
3056:
3051:
3046:
3041:
3036:
3031:
3025:
3023:
3019:
3018:
3016:
3015:
3010:
3008:Voice-tracking
3005:
3000:
2995:
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2985:
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2819:
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2809:
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2802:
2797:
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2782:
2777:
2772:
2770:Mixing console
2767:
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2757:
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2714:
2712:
2708:
2707:
2696:
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2673:
2667:
2666:
2658:
2657:External links
2655:
2654:
2653:
2646:
2637:
2623:
2606:
2592:
2580:Eshun, Kodwo.
2576:
2573:
2572:
2571:
2560:
2553:
2539:
2538:
2508:
2502:978-0822346739
2501:
2483:
2453:
2427:
2401:
2368:
2362:978-0521555227
2361:
2343:
2290:
2284:978-1841505664
2283:
2262:
2251:(4): 580–599.
2232:
2227:Sound on Sound
2208:
2195:
2190:boingboing.net
2177:
2152:
2141:
2123:
2101:
2079:
2057:
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2013:
1997:
1972:
1941:
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1549:
1542:
1537:
1532:
1527:
1525:Plunderphonics
1522:
1517:
1512:
1507:
1505:Battle records
1502:
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1393:
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1379:
1375:
1372:
1356:Ruth Oldenziel
1325:Sound on Sound
1290:
1289:
1255:
1253:
1246:
1240:
1237:
1227:
1224:
1211:Main article:
1208:
1205:
1195:Crab (scratch)
1190:
1187:
1181:
1178:
1151:This photo of
1144:
1141:
1113:
1110:
1085:
1082:
1064:
1061:
1018:
1015:
987:Main article:
984:
981:
973:
970:
930:
927:
851:Grandmixer DST
814:
811:
805:
802:
760:
757:
723:
720:
655:
652:
629:
626:
608:" (1987) and "
571:Jam Master Jay
555:Herbie Hancock
459:
456:
361:
358:
310:in the 1970s.
292:Janek Schaefer
237:Main article:
234:
231:
229:
226:
136:Herbie Hancock
96:Internet radio
26:
9:
6:
4:
3:
2:
5434:
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5325:Sound collage
5323:
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5313:
5311:
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4979:
4977:
4974:
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4969:
4967:
4964:
4962:
4959:
4955:
4954:indeterminacy
4952:
4951:
4950:
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4811:Record player
4809:
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4573:New York City
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4519:Saudi Arabian
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4150:South African
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4134:
4133:Port Harcourt
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3938:
3936:
3930:
3920:
3917:
3915:
3914:Vigilante rap
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3884:Nuyorican rap
3882:
3880:
3877:
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3872:
3870:
3867:
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3699:
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3686:
3684:Fusion genres
3680:
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3513:
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3501:
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3484:
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3479:
3477:
3474:
3472:
3469:
3465:
3462:
3461:
3460:
3457:
3455:
3452:
3448:
3445:
3444:
3443:
3440:
3438:
3437:Freestyle rap
3435:
3433:
3430:
3426:
3423:
3422:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3395:Chipmunk soul
3393:
3389:
3386:
3385:
3384:
3381:
3379:
3376:
3374:
3371:
3367:
3364:
3363:
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3359:
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3348:
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3337:
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3328:
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3308:
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3296:
3290:
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3223:
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3205:
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3198:
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3180:
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3162:
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3155:
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3148:
3147:
3144:
3132:
3129:
3127:
3124:
3122:
3119:
3117:
3114:
3112:
3111:Controllerism
3109:
3108:
3106:
3102:
3096:
3093:
3091:
3090:Remix service
3088:
3086:
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2971:
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2961:
2959:
2956:
2954:
2953:Interpolation
2951:
2949:
2946:
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2936:
2934:
2931:
2929:
2926:
2924:
2921:
2919:
2916:
2914:
2911:
2909:
2906:
2904:
2901:
2899:
2898:Beat juggling
2896:
2894:
2893:Back spinning
2891:
2889:
2886:
2885:
2883:
2879:
2873:
2870:
2868:
2865:
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2853:
2850:
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2845:
2843:
2840:
2838:
2835:
2833:
2830:
2828:
2827:Pitch control
2825:
2823:
2820:
2818:
2815:
2813:
2810:
2808:
2805:
2801:
2798:
2796:
2793:
2792:
2791:
2790:Record player
2788:
2786:
2783:
2781:
2778:
2776:
2773:
2771:
2768:
2766:
2763:
2761:
2758:
2756:
2753:
2749:
2748:Digital delay
2746:
2744:
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2736:
2734:
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2729:
2726:
2724:
2721:
2719:
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2694:
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2674:
2671:
2664:
2661:
2660:
2651:
2647:
2644:
2643:
2638:
2636:
2635:0-7043-8098-6
2632:
2628:
2624:
2621:
2617:
2613:
2612:
2607:
2605:
2601:
2597:
2593:
2591:
2590:0-7043-8025-0
2587:
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2578:
2569:
2565:
2561:
2558:
2554:
2551:
2547:
2543:
2542:
2526:
2522:
2521:discwoman.com
2518:
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2105:
2089:
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2067:
2061:
2045:
2039:
2023:
2017:
2010:
2007:Chang, Jeff.
2004:
2002:
1994:
1990:
1987:
1986:
1979:
1977:
1961:
1957:
1950:
1948:
1946:
1930:
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1911:
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1694:0-8264-1615-2
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1547:
1546:Wave Twisters
1543:
1541:
1538:
1536:
1533:
1531:
1528:
1526:
1523:
1521:
1518:
1516:
1515:Controllerism
1513:
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1506:
1503:
1501:
1498:
1497:
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1446:
1445:DJ Jazzy Jeff
1440:
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1343:
1342:hip hop music
1338:
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1317:
1313:
1309:
1305:
1304:popular music
1296:
1286:
1276:
1272:
1268:
1262:
1261:
1256:This section
1254:
1245:
1244:
1239:Role of women
1236:
1234:
1223:
1221:
1214:
1204:
1202:
1196:
1186:
1177:
1174:
1170:
1166:
1165:DJ Jazzy Jeff
1158:
1154:
1149:
1140:
1136:
1133:
1129:
1123:
1118:
1109:
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1103:
1099:
1095:
1091:
1081:
1079:
1074:
1070:
1060:
1058:
1057:
1052:
1049:in the 1980s
1048:
1044:
1043:DJ Jazzy Jeff
1040:
1039:DJ Cash Money
1036:
1032:
1023:
1014:
1010:
1007:
1003:
1000:
996:
990:
979:
969:
965:
962:
957:
955:
951:
950:Carnegie Hall
947:
943:
939:
935:
926:
924:
920:
916:
912:
908:
904:
900:
896:
892:
888:
884:
880:
876:
875:DJ Clark Kent
872:
868:
867:DJ Cash Money
864:
863:DJ Jazzy Jeff
860:
856:
852:
848:
844:
840:
832:
827:
823:
821:
820:controllerism
810:
801:
799:
795:
790:
788:
787:beat juggling
784:
780:
776:
772:
767:
756:
754:
750:
746:
742:
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734:
730:
718:
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651:
648:
644:
643:
638:
637:
625:
623:
619:
615:
611:
607:
603:
602:DJ Jazzy Jeff
599:
598:DJ Cash Money
595:
591:
586:
584:
580:
576:
572:
568:
562:
560:
557:'s hit song "
556:
552:
548:
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328:
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309:
305:
301:
297:
293:
289:
284:
283:Edgard Varèse
280:
276:
275:
270:
266:
262:
261:Halim El-Dabh
258:
254:
250:
246:
240:
225:
221:
219:
215:
214:hip hop music
211:
207:
206:beat juggling
203:
199:
195:
191:
187:
183:
179:
175:
173:
169:
165:
161:
157:
152:
150:
145:
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137:
133:
129:
125:
120:
116:
111:
109:
105:
104:hip hop music
101:
97:
93:
89:
85:
81:
77:
76:sound effects
73:
66:
62:
61:DJ Jazzy Jeff
57:
49:
42:
38:
34:
30:
19:
5268:
5017:music genres
4937:contemporary
4880:
4828:Hip hop skit
4823:Drum machine
4815:
4784:Other topics
4677:
4578:Philadelphia
4552:
4021:Funk carioca
3971:Ghetto house
3829:Boomba music
3719:Hip hop soul
3632:Sample drill
3627:Jersey drill
3539:
3454:Instrumental
3192:
3085:Digital pool
2903:Beatmatching
2888:Audio mixing
2738:Effects unit
2733:Drum machine
2703:
2649:
2641:
2626:
2610:
2608:Katz, Mark.
2595:
2581:
2567:
2556:
2549:
2529:. Retrieved
2525:the original
2520:
2511:
2492:
2486:
2474:. Retrieved
2470:the original
2465:
2456:
2444:. Retrieved
2439:
2430:
2418:. Retrieved
2414:the original
2404:
2392:. Retrieved
2388:the original
2383:
2352:
2346:
2316:(1): 60–96.
2313:
2309:
2274:
2248:
2244:
2226:
2198:
2189:
2180:
2168:. Retrieved
2164:
2155:
2144:
2135:
2126:
2114:. Retrieved
2104:
2092:. Retrieved
2082:
2070:. Retrieved
2060:
2048:. Retrieved
2038:
2026:. Retrieved
2016:
2008:
1984:
1963:. Retrieved
1959:
1932:. Retrieved
1926:
1889:
1864:
1854:
1834:
1828:
1816:. Retrieved
1812:
1769:
1737:
1730:
1710:
1703:
1684:
1677:Oswald, John
1671:
1655:
1649:
1621:
1614:
1602:. Retrieved
1598:the original
1593:
1583:
1571:. Retrieved
1561:
1544:
1510:Beatmatching
1459:DJ Kool Herc
1361:
1339:
1323:
1301:
1283:January 2019
1280:
1265:Please help
1257:
1229:
1216:
1198:
1183:
1162:
1137:
1127:
1126:
1089:
1087:
1073:baby scratch
1068:
1066:
1054:
1030:
1028:
1011:
1004:
992:
966:
960:
958:
933:
932:
911:Beastie Boys
898:
843:Kool DJ Herc
836:
816:
807:
798:X-Ecutioners
791:
762:
745:X-Ecutioners
735:, DJ Quest,
725:
710:
701:Spin Science
700:
698:
690:Beat Junkies
667:
660:Battlesounds
659:
657:
640:
634:
633:(among them
631:
590:Philadelphia
587:
563:
533:
527:
524:
510:
506:
502:
496:
472:
436:
420:sound system
408:DJ Kool Herc
405:
391:), based in
373:
323:sound system
312:
304:Maria Chavez
272:
253:Experimental
242:
222:
193:
176:
160:Beat Junkies
153:
123:
112:
71:
70:
29:
5392:Turntablism
5269:Turntablism
5212:Witch house
5172:Drone metal
4961:Avant-garde
4848:Video vixen
4843:Synthesizer
4816:Turntablism
4801:Disc jockey
4734:New Zealand
4514:Palestinian
4409:Montenegrin
4200:Bangladeshi
4195:Azerbaijani
3934:Derivatives
3919:Zenji flava
3894:Songo-salsa
3824:Bongo flava
3704:Country rap
3592:Memphis rap
3575:Mafioso rap
3570:Gangsta rap
3545:Underground
3540:Turntablism
3464:Chicano rap
3366:Hipster hop
3361:Alternative
3080:Rare groove
2998:Slip-cueing
2973:Needle drop
2862:Synthesizer
2780:Phono input
2728:DJ software
2704:turntablism
2202:DMC staff.
2170:January 13,
1965:January 15,
1818:January 15,
1316:Celine Dion
1302:In Western
1169:cross-fader
1122:Marley Marl
915:Cut Chemist
694:Lauryn Hill
636:Black Noise
333:features a
300:Philip Jeck
210:improvising
178:John Oswald
124:turntablist
119:belt-driven
84:cross fader
72:Turntablism
5412:Turntables
5386:Categories
5340:Soundscape
5264:Scordatura
5234:3rd bridge
5197:Industrial
5162:Avant-funk
5104:noise rock
5059:Avant-punk
5054:Avant-prog
5042:Post-metal
4981:Tape music
4729:Australian
4708:Salvadoran
4644:West Coast
4590:Midwestern
4568:New Jersey
4558:East Coast
4404:Macedonian
4379:Portuguese
4272:Sri Lankan
4262:Philippine
4227:Indonesian
4170:Zimbabwean
4145:Senegalese
3983:Glitch hop
3976:Ghettotech
3945:Electronic
3834:Cumbia rap
3794:Trap metal
3729:Industrial
3644:Latin trap
3603:Trap music
3587:Horrorcore
3530:Snap music
3514:Religious
3481:Mumble rap
3476:Miami bass
3432:East Coast
3325:Golden age
3320:New school
3315:Old-school
3279:Production
3232:Battle rap
3215:Beatboxing
2993:Scratching
2968:Music loop
2908:Beatmixing
2881:Techniques
2812:Microphone
2755:Headphones
2627:DJ Culture
1928:Reverb.com
1553:References
1535:Scratching
1275:Wikisource
1193:See also:
1176:produced.
1035:crossfader
978:Scratching
976:See also:
972:Techniques
942:Raul Yanez
919:DJ Nu-Mark
871:DJ Scratch
839:old-school
783:scratching
759:Techniques
622:DJ Premier
618:Gang Starr
594:DJ Spinbad
567:Run-D.M.C.
539:scratching
491:break-beat
385:Matsushita
364:See also:
351:operating
345:Sid Wilson
233:Precursors
202:scratching
158:" of the "
100:scratching
86:-equipped
80:turntables
5320:Sound art
5207:Punk jazz
5182:Free jazz
5114:post-rock
5109:post-punk
5089:math rock
5084:krautrock
5049:Avant-pop
4949:Aleatoric
4791:Auto-Tune
4771:Colombian
4754:Brazilian
4693:Dominican
4649:Northwest
4610:Wisconsin
4563:Baltimore
4469:Ukrainian
4449:Slovenian
4414:Norwegian
4389:Icelandic
4384:Hungarian
4339:Bulgarian
4277:Taiwanese
4267:Singapore
4257:Pakistani
4247:Mongolian
4242:Malaysian
4155:Tanzanian
4113:Mauritian
4026:Reggaeton
3998:Freestyle
3954:Breakbeat
3819:Afroswing
3785:Rap metal
3764:Rap opera
3724:Hip house
3612:Afro trap
3565:Dirty rap
3518:Christian
3503:Conscious
3498:Political
3425:Crunkcore
3410:Cloud rap
3341:Subgenres
3269:Festivals
3039:Transform
3022:Scratches
3003:Pitch cue
2857:Subwoofer
2785:PA system
2711:Equipment
2531:March 12,
2476:March 12,
2446:March 12,
2440:The FADER
2420:March 12,
2394:March 12,
2338:108698842
1641:609824040
1604:March 31,
1573:March 31,
1368:Discwoman
1271:Wikiquote
1258:contains
1031:transform
1017:Transform
923:Kid Koala
899:Optometry
895:DJ Spooky
883:DJ Shadow
841:DJs like
813:Evolution
794:Steve Dee
664:Doug Pray
647:DAT tapes
614:Tuff Crew
479:Kool Herc
424:b-dancers
389:Panasonic
315:dub music
257:John Cage
218:basslines
182:washboard
92:PA system
5285:Cymatics
5192:Hyperpop
5157:Art rock
5152:Art punk
5094:neo-prog
5064:Biomusic
5025:By style
4935:Related
4883:Category
4806:DJ mixer
4759:BrasĂlia
4720:Oceanian
4683:Canadian
4622:Southern
4524:Tunisian
4509:Lebanese
4494:Egyptian
4424:Romanian
4344:Croatian
4332:Scottish
4307:Austrian
4302:Albanian
4293:European
4252:Nepalese
4232:Japanese
4190:Armenian
4160:Togolese
4140:Nigerien
4128:Nigerian
4123:Namibian
4118:Moroccan
4108:Malawian
4093:Ghanaian
4083:Botswana
4078:Beninese
4068:Algerian
3993:Illbient
3899:Scam rap
3874:Motswako
3859:Igbo rap
3810:Regional
3799:Nu metal
3774:Trip hop
3769:Rap rock
3754:Punk rap
3734:Jazz rap
3637:UK drill
3556:Hardcore
3535:Southern
3491:Chap hop
3486:Nerdcore
3388:Road rap
3373:Boom bap
3252:Feminism
3247:Activism
3208:Emceeing
3201:Graffiti
3187:Breaking
2988:Sampling
2978:Phrasing
2923:Chopping
2817:Minutoli
2723:DJ mixer
2550:DigiZine
2304:(1997).
2165:NAMM.org
2149:DJ Screw
2116:June 24,
2094:June 24,
2072:June 24,
2050:June 24,
2028:June 24,
1989:Archived
1679:(2004).
1661:Archived
1494:See also
1226:Contests
1201:DJ Qbert
1157:DJ mixer
1153:DJ Qbert
1132:DJ Flare
1106:cyclical
1102:DJ Qbert
1006:DJ Screw
938:DJ Radar
897:, whose
749:Asphodel
737:DJ Krush
733:DJ Qbert
528:creating
468:DJ mixer
401:Technics
378:. Early
349:Slipknot
335:backspin
329:'s 1968
190:plectrum
168:D-Styles
108:DJ mixer
88:DJ mixer
37:DJ Qbert
5167:Ambient
5147:Art pop
5140:Related
5126:Neofolk
5099:no wave
4988:Minimal
4838:Sampler
4766:Chilean
4703:Mexican
4698:Haitian
4632:Memphis
4627:Atlanta
4600:Detroit
4595:Chicago
4529:Turkish
4504:Israeli
4499:Iranian
4459:Swedish
4454:Spanish
4439:Serbian
4434:Russian
4399:Italian
4359:Finnish
4322:British
4312:Belgian
4210:Chinese
4205:Burmese
4165:Zambian
4098:Ivorian
4088:Gambian
4073:Angolan
4059:African
3904:Stronda
3869:Low bap
3854:Hiplife
3744:Pop rap
3714:Emo rap
3709:Electro
3695:General
3669:UK trap
3447:Jerkin'
3405:Chopper
3383:British
3352:General
3298:History
3284:Theater
3242:Fashion
3225:Culture
3174:Hip hop
3095:Mixtape
2928:Covered
2837:Slipmat
2832:Sampler
2800:SL-1200
2642:Scratch
2462:"Enter"
2330:3106784
1934:June 5,
1388:DJ Babu
1320:Rihanna
1312:Madonna
1094:DJ Disk
1051:cartoon
861:, also
804:Studies
705:DJ Babu
686:DJ Babu
678:DJ Disk
669:Scratch
642:Scratch
475:hip-hop
458:Hip-hop
412:Jamaica
319:deejays
308:hip hop
228:History
184:with a
156:DJ Babu
149:hip-hop
144:DJ Babu
128:DJ Disk
5310:Fluxus
5187:Glitch
5003:Danger
4941:genres
4654:Alaska
4534:Yemeni
4489:Arabic
4444:Slovak
4429:Romany
4419:Polish
4369:German
4364:French
4327:Celtic
4237:Korean
4215:Indian
4103:Kenyan
3864:Kwaito
3582:G-funk
3523:Jewish
3415:Comedy
3378:Bounce
3289:Genres
3070:DJ mix
2963:Medley
2958:Mashup
2807:Laptop
2743:Reverb
2633:
2618:
2602:
2588:
2499:
2359:
2336:
2328:
2281:
1897:
1842:
1813:Medium
1785:
1745:
1718:
1691:
1639:
1629:
1173:record
1078:flares
1047:robots
921:, and
857:, and
741:A-Trak
714:Melo-D
559:Rockit
543:stylus
432:breaks
302:, and
279:cymbal
269:sample
263:, and
204:, and
132:Primus
82:and a
5397:DJing
4998:Noise
4966:Drone
4688:Cuban
4666:Latin
4637:Miami
4615:Omaha
4464:Swiss
4394:Irish
4374:Greek
4354:Dutch
4349:Czech
4181:Asian
4013:Other
4003:Wonky
3988:Grime
3849:Hipco
3839:Genge
3759:Ragga
3664:Tread
3654:Plugg
3649:Phonk
3617:Drill
3459:Latin
3442:Hyphy
3420:Crunk
3274:Music
3237:Dance
3194:DJing
3049:Chirp
3044:Flare
3029:Orbit
2983:Remix
2913:Break
2700:DJing
2334:S2CID
2326:JSTOR
1960:Wired
1569:. PBS
1213:VJing
1143:Chirp
1128:Flare
1112:Flare
1098:flare
1090:orbit
1084:Orbit
887:Diplo
779:orbit
771:flare
551:pitch
520:clock
499:break
397:SP-10
393:Osaka
387:(now
188:as a
162:" / "
117:over
5290:Dada
5131:Wave
4282:Thai
4220:Desi
3659:Rage
3471:Lofi
3264:LGBT
3121:Rave
3054:Crab
3034:Tear
2943:Drop
2760:iPod
2702:and
2631:ISBN
2616:ISBN
2600:ISBN
2586:ISBN
2533:2016
2497:ISBN
2478:2016
2448:2016
2422:2016
2396:2016
2357:ISBN
2279:ISBN
2172:2022
2118:2024
2096:2024
2074:2024
2052:2024
2030:2024
1967:2023
1936:2016
1895:ISBN
1840:ISBN
1820:2023
1783:ISBN
1743:ISBN
1716:ISBN
1689:ISBN
1637:OCLC
1627:ISBN
1606:2021
1575:2021
1404:(l.)
1332:and
1318:and
1189:Crab
1180:Stab
1069:tear
1063:Tear
1041:and
959:The
940:and
891:RJD2
889:and
775:crab
639:and
620:'s "
600:and
485:and
445:and
430:the
428:loop
368:and
2938:Cut
2933:Cue
2718:CDJ
2566:."
2548:."
2318:doi
2253:doi
1775:doi
1351:EDM
1340:In
1088:An
831:CDJ
777:or
773:to
753:DMC
666:'s
451:RPM
347:of
194:not
5388::
2519:.
2464:.
2438:.
2382:.
2371:^
2332:.
2324:.
2314:38
2312:.
2308:.
2293:^
2265:^
2249:89
2247:.
2235:^
2225:.
2211:^
2188:.
2163:.
2134:.
2000:^
1975:^
1958:.
1944:^
1925:.
1909:^
1873:^
1863:.
1811:.
1797:^
1781:.
1757:^
1635:.
1592:.
1314:,
1306:,
1067:A
1059:.
1053:,
1029:A
917:,
913:.
873:,
869:,
865:,
853:,
849:,
845:,
739:,
731:,
662:,
596:,
298:,
294:,
290:,
281:.
259:,
200:,
138:,
134:,
4919:e
4912:t
4905:v
3165:e
3158:t
3151:v
2692:e
2685:t
2678:v
2622:.
2535:.
2505:.
2480:.
2450:.
2424:.
2398:.
2365:.
2340:.
2320::
2287:.
2259:.
2255::
2229:.
2174:.
2120:.
2098:.
2076:.
2054:.
2032:.
1969:.
1938:.
1903:.
1848:.
1822:.
1791:.
1777::
1751:.
1724:.
1697:.
1658:.
1643:.
1608:.
1577:.
1285:)
1281:(
1277:.
1263:.
1159:.
511:A
507:B
503:A
20:)
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