Turntablism - Knowledge (XXG)

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, 1425: 1396: 1453: 1022: 1411: 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 " 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) " 1467: 1231:

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

1117: 33: 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 818:

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).

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. 1139:

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 4877: 809:

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.

463: 341: 1481: 1439: 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. 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. 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 " 1382: 1148: 56: 48: 1249: 826: 1295: 1012:

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 " 530:

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, 1336:

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). 564:

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 453:

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.

2305: 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 223:

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 1076:

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,

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 4917: 414:

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 1163:

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. 422:

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 1345: 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." 1033:

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.

4648: 4857: 2619: 2603: 1898: 1843: 1786: 1746: 1719: 1630: 5360: 2609: 1219: 781:, and spread as DJs taught each other, practiced together or just showed off their new techniques to other DJs. Alongside the evolution of 330: 1410: 2409: 2379: 1395: 1424: 313:

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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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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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

592:, where the climate for the return of the DJ was created by inventing transformer scratching. Developed by 577:", it established the DJ as the star of the record, even if he wasn't the frontman. Compared to "Rockit", 208:. Some turntablists seek to have themselves recognized as traditional musicians capable of interacting and 4660: 4572: 4478: 3932: 3808: 3693: 3682: 3350: 3339: 3288: 2794: 1676: 1350: 906: 681: 673: 605: 534: 450: 375: 365: 352: 177: 139: 114: 4970: 4953: 4577: 4518: 4149: 4132: 4030: 3309: 3156: 2222: 1480: 1416: 846: 442: 209: 1116: 473:

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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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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have achieved great success in singing and songwriting roles, with top examples being

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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

1222:

World final introduced the 'Experimental' category to recognise visual artistry.

522:. He described it as being "...like cutting, the backspin, and the double-back." 306:. Turntablism as it is known today, however, did not surface until the advent of 5171: 4997: 4965: 4847: 4842: 4800: 4631: 3987: 3918: 3893: 3823: 3703: 3653: 3626: 3616: 3591: 3574: 3569: 3463: 3365: 3079: 2997: 2937: 2932: 2861: 2779: 2727: 2699: 1315: 1168: 1121: 914: 693: 299: 83: 1199:

A "crab" is a type of scratch used by turntablists and originally developed by

553:

of the note or sound on the recording (Alberts 2002). DXT appeared (as DST) on

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albums showed that the turntablist can perfectly fit within a jazz setting.

894: 882: 663: 613: 478: 388: 384: 314: 256: 91: 78:, mixes and other creative sounds and beats, typically by using two or more 1147: 55: 17: 1955: 1620: 829:

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

5146: 5125: 5098: 3903: 3868: 3853: 3743: 3713: 3172: 3094: 2836: 2799: 2329: 1387: 1319: 1093: 1050: 707:" added the following comments about the birth and spread of the term: 704: 685: 677: 616:'s DJ Too Tuff's "Behold the Detonator" "Soul Food" (both 1989)", and 411: 307: 216:), a turntablist can create rhythmic accompaniment, percussion breaks, 155: 143: 127: 1622:

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

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Katz, Mark. "The Turntable as Weapon: Understanding the DJ Battle."

2321: 1294: 825: 2645:. 2001. A documentary about the History and Culture of Turntablism. 2563: 696:. The truth most likely lies somewhere in between all these facts. 3848: 3838: 3758: 3648: 3441: 3419: 2982: 2564:

The Phonograph Turntable and Performance Practice in Hip Hop Music

1293: 1212: 1146: 1115: 1046: 1020: 824: 461: 392: 339: 54: 46: 31: 1809:"The Technics 1200 — Hammer Of The Gods [XXL, Fall 1998]" 1687:. The Continuum International Publishing Group Inc. p. 132. 51:

World premiere of the Tri-Phonic Turntable, July 14, 1997, London

5289: 3120: 2759: 890: 426:' favorite section, switching back and forth between the two to 4899: 3145: 2672: 837:

New DJs, turntablists and crews owe a distinct debt to pioneer

2717: 1242: 909:(begun in 1989 as Shadow of the Prophet) and later DJ for the 830: 247:

has its roots dating back to the 1930s, 1940s, and 1950s when

154:

According to most DJ historians, it has been documented that "

785:, other practices such as drumming (or scratch drumming) and 505:

plays, the DJ quickly backtracks to the same break on record

905:

was a founding member of the influential turntablist group

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,

1923:"History of the Record Player Part II: The Rise and Fall" 1328:

article Rosina Ncube attested that few women work in the

1274: 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: 1266: 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.

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Computers in Music Education: Amplifying Musicality

1567:"The Art Of Turntablism | History Detectives | PBS" 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; Rincón, Julio d' Escrivan (2007). 569:who were composed of two MCs and one DJ. The DJ, 481:(a Jamaican DJ who immigrated to New York City), 2493:Pink Noises: Women on Electronic Music and Sound 2380:"Music – GEA – Gender and Education Association" 251:composers did experiments with audio equipment. 2546:Scratch and the Hip-Hop Book of Grand Mixer DXT 709: 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: 1838:. Hal Leonard Corporation. 2003. p. 43. 1269:. Consider transferring direct quotations to 8: 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 5021: 4918: 4904: 4896: 4053: 3939: 3689: 3346: 3164: 3150: 3142: 2691: 2677: 2669: 2223:"Sounding Off: Why So Few Women In Audio?" 2132:"The Slow Life and Fast Death of DJ Screw" 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. 1653:Newman, Mark "Markski" (January 3, 2003). 645:), and was linked to the increased use of 27:Art of manipulating sound using turntables 2614:New York: Oxford University Press, 2012. 1916: 1914: 1912: 1910: 1882: 1880: 1878: 1876: 1874: 1949: 1947: 1945: 1893:. Oxford University Press. p. 515. 1802: 1800: 1798: 337:effect in the song "Walk on the Water". 1685:Audio Culture: Readings in Modern Music 1558: 1377: 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 1867:. Nielsen Business Media. p. 140. 1362:Lucy Green, professor of music at the 4858:LGBT representations in hip hop music 2374: 2372: 2296: 2294: 2268: 2266: 2238: 2236: 1260:too many or overly lengthy quotations 1135:out and then back in a split second. 893:, among others, and the experimental 509:, which will again take the place of 126:is claimed to be originated by Luis " 7: 5361:List of experimental music festivals 2652:. Middletown, CT: Wesleyan UP, 2004. 2570:2 (1996) Retrieved February 4, 2013] 1995:. Norway: NTNU and Sweden: KTH, p. 4 1890:The Oxford Handbook of Sound Studies 1220:International Turntablist Federation 2088:"DJ Radar's Concerto for Turntable" 5366:List of electronic music festivals 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 1108:never ending type of orbit sound. 25: 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: 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. 2412:. BPMSUPREME TV. Archived from 2277:. University of Chicago Press. 624:in Deep Concentration" (1989). 5371:List of experimental musicians 2355:. Cambridge University Press. 1859:Steve Trainan (May 21, 1977). 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 1: 5345:Electroacoustic improvisation 1921:Mayhew, Jess (October 2015). 4863:Feminist activism in hip hop 2206:. Retrieved October 17, 2007 1374:Some pioneers of turntablism 1346:University of North Carolina 1171:open. The DJ then moves the 327:Creedence Clearwater Revival 4853:Partner violence in hip hop 355:at Mayhem Festival in 2008. 5438: 2273:Farrugia, Rebekah (2013). 1954:Blashill, Pat (May 2002). 1741:. Routledge. p. 127. 1233:DMC World DJ Championships 1210: 1192: 986: 975: 703:online resource in 2005, " 363: 236: 4871: 4317:Bosnian and Herzegovinian 3330:Bristol underground scene 3181: 3063:Releases and distribution 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 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 1120:Marlon Williams aka DJ 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: 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. 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: 4993:Musique concrete 4976:Acousmatic music 4920: 4913: 4906: 4897: 4884: 4879: 4878: 4746: 4721: 4583:Washington, D.C. 4546: 4481: 4294: 4182: 4060: 4054: 4049: 4014: 3946: 3940: 3935: 3879:Na mele paleoleo 3811: 3786: 3696: 3690: 3685: 3604: 3557: 3353: 3347: 3342: 3216: 3209: 3202: 3195: 3188: 3175: 3166: 3159: 3152: 3143: 3104:Related articles 3013:Video scratching 2693: 2686: 2679: 2670: 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: 2270: 2261: 2260: 2240: 2231: 2230: 2218: 2207: 2200: 2194: 2193: 2182: 2176: 2175: 2173: 2171: 2157: 2151: 2146: 2140: 2139: 2136:texasmonthly.com 2128: 2122: 2121: 2119: 2117: 2106: 2100: 2099: 2097: 2095: 2084: 2078: 2077: 2075: 2073: 2062: 2056: 2055: 2053: 2051: 2040: 2034: 2033: 2031: 2029: 2018: 2012: 2005: 1996: 1980: 1971: 1970: 1968: 1966: 1951: 1940: 1939: 1937: 1935: 1918: 1905: 1904: 1884: 1869: 1868: 1856: 1850: 1849: 1830: 1824: 1823: 1821: 1819: 1804: 1793: 1792: 1770:Electronic Music 1764: 1753: 1752: 1732: 1726: 1725: 1705: 1699: 1698: 1673: 1667: 1651: 1645: 1644: 1616: 1610: 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: 3334: 3293: 3220: 3214: 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: 2510: 2503: 2490: 2489: 2485: 2475: 2473: 2460: 2459: 2455: 2445: 2443: 2434: 2433: 2429: 2419: 2417: 2408: 2407: 2403: 2393: 2391: 2378: 2377: 2370: 2363: 2350: 2349: 2345: 2322:10.2307/3106784 2300: 2299: 2292: 2285: 2272: 2271: 2264: 2242: 2241: 2234: 2220: 2219: 2210: 2201: 2197: 2184: 2183: 2179: 2169: 2167: 2161:"DJ Cash Money" 2159: 2158: 2154: 2147: 2143: 2130: 2129: 2125: 2115: 2113: 2108: 2107: 2103: 2093: 2091: 2086: 2085: 2081: 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: 1974: 1964: 1962: 1953: 1952: 1943: 1933: 1931: 1920: 1919: 1908: 1901: 1886: 1885: 1872: 1858: 1857: 1853: 1846: 1832: 1831: 1827: 1817: 1815: 1806: 1805: 1796: 1789: 1766: 1765: 1756: 1749: 1734: 1733: 1729: 1722: 1707: 1706: 1702: 1695: 1675: 1674: 1670: 1665:Wayback Machine 1652: 1648: 1633: 1618: 1617: 1613: 1603: 1601: 1600:on June 9, 2023 1587: 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: 5433: 5425: 5424: 5422:Hip hop genres 5419: 5414: 5409: 5404: 5399: 5394: 5384: 5383: 5377: 5376: 5374: 5373: 5368: 5363: 5357: 5355: 5351: 5350: 5348: 5347: 5342: 5337: 5332: 5327: 5322: 5317: 5312: 5307: 5302: 5297: 5292: 5287: 5281: 5279: 5275: 5274: 5272: 5271: 5266: 5261: 5259:Prepared piano 5256: 5251: 5249:Plunderphonics 5246: 5244:Frippertronics 5241: 5236: 5230: 5228: 5222: 5221: 5218: 5217: 5215: 5214: 5209: 5204: 5199: 5194: 5189: 5184: 5179: 5174: 5169: 5164: 5159: 5154: 5149: 5143: 5141: 5137: 5136: 5134: 5133: 5128: 5123: 5118: 5117: 5116: 5111: 5106: 5101: 5096: 5091: 5086: 5076: 5071: 5066: 5061: 5056: 5051: 5046: 5045: 5044: 5034: 5028: 5026: 5019: 5014: 5011: 5010: 5008: 5007: 5006: 5005: 4995: 4990: 4985: 4984: 4983: 4978: 4968: 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3674: 3672: 3671: 3666: 3661: 3656: 3651: 3646: 3641: 3640: 3639: 3634: 3629: 3624: 3622:Brooklyn drill 3614: 3608: 3606: 3598: 3597: 3595: 3594: 3589: 3584: 3579: 3578: 3577: 3567: 3561: 3559: 3551: 3550: 3548: 3547: 3542: 3537: 3532: 3527: 3526: 3525: 3520: 3512: 3507: 3506: 3505: 3495: 3494: 3493: 3483: 3478: 3473: 3468: 3467: 3466: 3456: 3451: 3450: 3449: 3439: 3434: 3429: 3428: 3427: 3417: 3412: 3407: 3402: 3397: 3392: 3391: 3390: 3380: 3375: 3370: 3369: 3368: 3357: 3355: 3344: 3336: 3335: 3333: 3332: 3327: 3322: 3317: 3312: 3307: 3301: 3299: 3295: 3294: 3292: 3291: 3286: 3281: 3276: 3271: 3266: 3261: 3260: 3259: 3254: 3244: 3239: 3234: 3228: 3226: 3222: 3221: 3219: 3218: 3211: 3204: 3197: 3190: 3182: 3179: 3178: 3171: 3169: 3168: 3161: 3154: 3146: 3137: 3136: 3134: 3133: 3128: 3123: 3118: 3113: 3107: 3105: 3101: 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: 2990: 2985: 2980: 2975: 2970: 2965: 2960: 2955: 2950: 2945: 2940: 2935: 2930: 2925: 2920: 2915: 2910: 2905: 2900: 2895: 2890: 2884: 2882: 2878: 2877: 2875: 2874: 2869: 2864: 2859: 2854: 2849: 2844: 2839: 2834: 2829: 2824: 2819: 2814: 2809: 2804: 2803: 2802: 2797: 2787: 2782: 2777: 2772: 2770:Mixing console 2767: 2762: 2757: 2752: 2751: 2750: 2745: 2735: 2730: 2725: 2720: 2714: 2712: 2708: 2707: 2698: 2696: 2695: 2688: 2681: 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: 2035: 2013: 1997: 1972: 1941: 1906: 1899: 1870: 1851: 1844: 1825: 1794: 1787: 1754: 1747: 1727: 1720: 1700: 1693: 1668: 1646: 1631: 1611: 1580: 1557: 1556: 1554: 1551: 1550: 1549: 1542: 1537: 1532: 1527: 1525:Plunderphonics 1522: 1517: 1512: 1507: 1505:Battle records 1502: 1495: 1492: 1491: 1490: 1485: 1478: 1476: 1471: 1464: 1462: 1457: 1450: 1448: 1443: 1436: 1434: 1429: 1422: 1420: 1415: 1408: 1406: 1400: 1393: 1391: 1386: 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: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5434: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5389: 5387: 5372: 5369: 5367: 5364: 5362: 5359: 5358: 5356: 5352: 5346: 5343: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5325:Sound collage 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5282: 5280: 5276: 5270: 5267: 5265: 5262: 5260: 5257: 5255: 5252: 5250: 5247: 5245: 5242: 5240: 5237: 5235: 5232: 5231: 5229: 5227: 5223: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5193: 5190: 5188: 5185: 5183: 5180: 5178: 5175: 5173: 5170: 5168: 5165: 5163: 5160: 5158: 5155: 5153: 5150: 5148: 5145: 5144: 5142: 5138: 5132: 5129: 5127: 5124: 5122: 5119: 5115: 5112: 5110: 5107: 5105: 5102: 5100: 5097: 5095: 5092: 5090: 5087: 5085: 5082: 5081: 5080: 5077: 5075: 5072: 5070: 5067: 5065: 5062: 5060: 5057: 5055: 5052: 5050: 5047: 5043: 5040: 5039: 5038: 5035: 5033: 5030: 5029: 5027: 5023: 5020: 5012: 5004: 5001: 5000: 4999: 4996: 4994: 4991: 4989: 4986: 4982: 4979: 4977: 4974: 4973: 4972: 4969: 4967: 4964: 4962: 4959: 4955: 4954:indeterminacy 4952: 4951: 4950: 4947: 4946: 4944: 4940: 4932: 4928: 4921: 4916: 4914: 4909: 4907: 4902: 4901: 4898: 4886: 4885: 4874: 4873: 4870: 4864: 4861: 4859: 4856: 4854: 4851: 4849: 4846: 4844: 4841: 4839: 4836: 4834: 4831: 4829: 4826: 4824: 4821: 4817: 4814: 4812: 4811:Record player 4809: 4807: 4804: 4803: 4802: 4799: 4797: 4794: 4792: 4789: 4788: 4786: 4782: 4772: 4769: 4767: 4764: 4760: 4757: 4756: 4755: 4752: 4751: 4749: 4747: 4741: 4735: 4732: 4730: 4727: 4726: 4724: 4722: 4716: 4709: 4706: 4704: 4701: 4699: 4696: 4694: 4691: 4689: 4686: 4684: 4681: 4680: 4679: 4672: 4669: 4667: 4664: 4662: 4659: 4655: 4652: 4650: 4647: 4646: 4645: 4642: 4638: 4635: 4633: 4630: 4628: 4625: 4624: 4623: 4620: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4592: 4591: 4588: 4584: 4581: 4579: 4576: 4574: 4573:New York City 4571: 4569: 4566: 4564: 4561: 4560: 4559: 4556: 4555: 4554: 4549: 4547: 4541: 4535: 4532: 4530: 4527: 4525: 4522: 4520: 4519:Saudi Arabian 4517: 4515: 4512: 4510: 4507: 4505: 4502: 4500: 4497: 4495: 4492: 4490: 4487: 4486: 4484: 4482: 4476: 4470: 4467: 4465: 4462: 4460: 4457: 4455: 4452: 4450: 4447: 4445: 4442: 4440: 4437: 4435: 4432: 4430: 4427: 4425: 4422: 4420: 4417: 4415: 4412: 4410: 4407: 4405: 4402: 4400: 4397: 4395: 4392: 4390: 4387: 4385: 4382: 4380: 4377: 4375: 4372: 4370: 4367: 4365: 4362: 4360: 4357: 4355: 4352: 4350: 4347: 4345: 4342: 4340: 4337: 4333: 4330: 4328: 4325: 4324: 4323: 4320: 4318: 4315: 4313: 4310: 4308: 4305: 4303: 4300: 4299: 4297: 4295: 4289: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4230: 4228: 4225: 4221: 4218: 4217: 4216: 4213: 4211: 4208: 4206: 4203: 4201: 4198: 4196: 4193: 4191: 4188: 4187: 4185: 4183: 4177: 4171: 4168: 4166: 4163: 4161: 4158: 4156: 4153: 4151: 4150:South African 4148: 4146: 4143: 4141: 4138: 4134: 4133:Port Harcourt 4131: 4130: 4129: 4126: 4124: 4121: 4119: 4116: 4114: 4111: 4109: 4106: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4079: 4076: 4074: 4071: 4069: 4066: 4065: 4063: 4061: 4055: 4052: 4050: 4044: 4032: 4029: 4028: 4027: 4024: 4022: 4019: 4018: 4016: 4010: 4004: 4001: 3999: 3996: 3994: 3991: 3989: 3986: 3984: 3981: 3977: 3974: 3973: 3972: 3969: 3965: 3962: 3960: 3957: 3956: 3955: 3952: 3951: 3949: 3947: 3941: 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: 3875: 3872: 3870: 3867: 3865: 3862: 3860: 3857: 3855: 3852: 3850: 3847: 3845: 3842: 3840: 3837: 3835: 3832: 3830: 3827: 3825: 3822: 3820: 3817: 3816: 3814: 3812: 3806: 3800: 3797: 3795: 3792: 3791: 3789: 3787: 3781: 3775: 3772: 3770: 3767: 3765: 3762: 3760: 3757: 3755: 3752: 3750: 3747: 3745: 3742: 3740: 3737: 3735: 3732: 3730: 3727: 3725: 3722: 3720: 3717: 3715: 3712: 3710: 3707: 3705: 3702: 3701: 3699: 3697: 3691: 3688: 3686: 3684:Fusion genres 3680: 3670: 3667: 3665: 3662: 3660: 3657: 3655: 3652: 3650: 3647: 3645: 3642: 3638: 3635: 3633: 3630: 3628: 3625: 3623: 3620: 3619: 3618: 3615: 3613: 3610: 3609: 3607: 3605: 3599: 3593: 3590: 3588: 3585: 3583: 3580: 3576: 3573: 3572: 3571: 3568: 3566: 3563: 3562: 3560: 3558: 3552: 3546: 3543: 3541: 3538: 3536: 3533: 3531: 3528: 3524: 3521: 3519: 3516: 3515: 3513: 3511: 3508: 3504: 3501: 3500: 3499: 3496: 3492: 3489: 3488: 3487: 3484: 3482: 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: 3362: 3359: 3358: 3356: 3354: 3348: 3345: 3343: 3337: 3331: 3328: 3326: 3323: 3321: 3318: 3316: 3313: 3311: 3308: 3306: 3303: 3302: 3300: 3296: 3290: 3287: 3285: 3282: 3280: 3277: 3275: 3272: 3270: 3267: 3265: 3262: 3258: 3255: 3253: 3250: 3249: 3248: 3245: 3243: 3240: 3238: 3235: 3233: 3230: 3229: 3227: 3223: 3217: 3212: 3210: 3205: 3203: 3198: 3196: 3191: 3189: 3184: 3183: 3180: 3176: 3167: 3162: 3160: 3155: 3153: 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: 3083: 3081: 3078: 3076: 3073: 3071: 3068: 3067: 3065: 3061: 3055: 3052: 3050: 3047: 3045: 3042: 3040: 3037: 3035: 3032: 3030: 3027: 3026: 3024: 3020: 3014: 3011: 3009: 3006: 3004: 3001: 2999: 2996: 2994: 2991: 2989: 2986: 2984: 2981: 2979: 2976: 2974: 2971: 2969: 2966: 2964: 2961: 2959: 2956: 2954: 2953:Interpolation 2951: 2949: 2946: 2944: 2941: 2939: 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: 2863: 2860: 2858: 2855: 2853: 2850: 2848: 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: 2741: 2740: 2739: 2736: 2734: 2731: 2729: 2726: 2724: 2721: 2719: 2716: 2715: 2713: 2709: 2705: 2701: 2694: 2689: 2687: 2682: 2680: 2675: 2674: 2671: 2664: 2661: 2660: 2656: 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: 2583: 2579: 2578: 2574: 2569: 2565: 2561: 2558: 2554: 2551: 2547: 2543: 2542: 2526: 2522: 2521:discwoman.com 2518: 2512: 2509: 2504: 2498: 2494: 2487: 2484: 2471: 2467: 2463: 2457: 2454: 2441: 2437: 2431: 2428: 2415: 2411: 2405: 2402: 2389: 2385: 2381: 2375: 2373: 2369: 2364: 2358: 2354: 2347: 2344: 2339: 2335: 2331: 2327: 2323: 2319: 2315: 2311: 2307: 2303: 2297: 2295: 2291: 2286: 2280: 2276: 2269: 2267: 2263: 2258: 2254: 2250: 2246: 2239: 2237: 2233: 2228: 2224: 2217: 2215: 2213: 2209: 2205: 2199: 2196: 2191: 2187: 2181: 2178: 2166: 2162: 2156: 2153: 2150: 2145: 2142: 2137: 2133: 2127: 2124: 2111: 2105: 2102: 2089: 2083: 2080: 2067: 2061: 2058: 2045: 2039: 2036: 2023: 2017: 2014: 2010: 2007:Chang, Jeff. 2004: 2002: 1998: 1994: 1990: 1987: 1986: 1979: 1977: 1973: 1961: 1957: 1950: 1948: 1946: 1942: 1930: 1929: 1924: 1917: 1915: 1913: 1911: 1907: 1902: 1896: 1892: 1891: 1883: 1881: 1879: 1877: 1875: 1871: 1866: 1862: 1855: 1852: 1847: 1841: 1837: 1836: 1829: 1826: 1814: 1810: 1803: 1801: 1799: 1795: 1790: 1784: 1780: 1776: 1772: 1771: 1763: 1761: 1759: 1755: 1750: 1744: 1740: 1739: 1731: 1728: 1723: 1717: 1713: 1712: 1704: 1701: 1696: 1694:0-8264-1615-2 1690: 1686: 1682: 1678: 1672: 1669: 1666: 1662: 1659: 1657: 1650: 1647: 1642: 1638: 1634: 1628: 1624: 1623: 1615: 1612: 1599: 1595: 1591: 1584: 1581: 1568: 1562: 1559: 1552: 1548: 1547: 1546:Wave Twisters 1543: 1541: 1538: 1536: 1533: 1531: 1528: 1526: 1523: 1521: 1518: 1516: 1515:Controllerism 1513: 1511: 1508: 1506: 1503: 1501: 1498: 1497: 1493: 1488: 1482: 1477: 1474: 1468: 1463: 1460: 1454: 1449: 1446: 1445:DJ Jazzy Jeff 1440: 1435: 1432: 1426: 1421: 1418: 1412: 1407: 1403: 1397: 1392: 1389: 1383: 1378: 1373: 1371: 1369: 1365: 1360: 1357: 1352: 1347: 1343: 1342:hip hop music 1338: 1335: 1331: 1327: 1326: 1321: 1317: 1313: 1309: 1305: 1304:popular music 1296: 1286: 1276: 1272: 1268: 1262: 1261: 1256:This section 1254: 1245: 1244: 1239:Role of women 1238: 1236: 1234: 1225: 1223: 1221: 1214: 1206: 1204: 1202: 1196: 1188: 1186: 1179: 1177: 1174: 1170: 1166: 1165:DJ Jazzy Jeff 1158: 1154: 1149: 1142: 1140: 1136: 1133: 1129: 1123: 1118: 1111: 1109: 1107: 1103: 1099: 1095: 1091: 1083: 1081: 1079: 1074: 1070: 1062: 1060: 1058: 1057: 1052: 1049:in the 1980s 1048: 1044: 1043:DJ Jazzy Jeff 1040: 1039:DJ Cash Money 1036: 1032: 1023: 1016: 1014: 1010: 1007: 1003: 1000: 996: 990: 982: 979: 971: 969: 965: 962: 957: 955: 951: 950:Carnegie Hall 947: 943: 939: 935: 928: 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 812: 810: 803: 801: 799: 795: 790: 788: 787:beat juggling 784: 780: 776: 772: 767: 758: 756: 754: 750: 746: 742: 738: 734: 730: 721: 718: 715: 708: 706: 702: 697: 695: 691: 687: 683: 679: 675: 671: 670: 665: 661: 653: 651: 648: 644: 643: 638: 637: 627: 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: 544: 540: 536: 532: 529: 523: 521: 517: 512: 508: 504: 500: 495: 492: 488: 484: 480: 476: 469: 464: 457: 455: 452: 448: 444: 440: 435: 433: 429: 425: 421: 417: 413: 409: 404: 402: 398: 394: 390: 386: 381: 377: 371: 367: 359: 354: 350: 346: 342: 338: 336: 332: 328: 324: 320: 316: 311: 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: 232: 227: 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: 141: 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:. 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