DJ culture

This essay concerns the dynamic tension between resistance and reappropriation in the youth subcultural practice of raving. We argue that the transgressive potential of underground rave culture lies primarily in its privileging of communion, which is facilitated along the intersecting axes of social space, authorship, the body, and the drug Ecstasy. The commodification of rave culture is demonstrated to be linked to a shifting consciousness reflected in changing attitudes toward Ecstasy, the relocation of dance culture into clubs, and the redefinition of the DJ as artist and superstar. A concluding section considers the implications of resistance and reappropriation in rave culture for social change and the exercise of power.

A research based on groove.

Bachelor thesis for Codarts (Rotterdam, NL) Pop Drums course, about the influence of music producer J Dilla on the way drums are played today, more specifically in modern soul, hip hop and afro american based music.

La techno est un genre musical qui parle à tous les connaisseurs de musiques électroniques, et plus largement. Dans certains ouvrages scientifiques et divers contenus médiatiques des vingt dernières années, il est rare d’en extraire un exposé musicologique non condescendant de ce genre musical, ou une approche sociologique autre que liée à l’univers des raves en Europe. Dans une démarche anthropologique, il est alors nécessaire de revenir sur les bases de la construction de ce terme entouré de mythes. Il faut donc se rendre à Detroit. Une terre envisagée comme origine de la techno où les différentes trajectoires des musiques électroniques s’entremêlent entre musiques, espaces, territoires et valeurs. (Re)Commencer à une échelle locale et humaine, c’est côtoyer les individus et les communautés qui se solidarisent autour d’une ou de musiques techno(s). C’est analyser la techno à Detroit en train de se faire, via notamment une ethnographie de la vie de jeunes DJs. C’est aussi s’interroger sur l’évolution professionnelle d’artistes-phares depuis près de 40 ans et leurs impacts aussi bien culturels, artistiques, pédagogiques que politiques à Detroit. Ainsi, au travers de la ou les techno(s), des interactions se créent, des échanges discursifs et points de vue sont développés et des barrières se forment. Se modélise alors une image nette et énergique, encore occultée aujourd’hui, de Detroit.

Beginning in the early 1990s, this article describes the influences of the California Pilipinx American hip-hop scenes on the author’s development as a youth and son of immigrants from China, Hong Kong, Vietnam and Taiwan, and as a hip-hop artist, organizer, educator, and scholar.  This essay highlights a few historical moments and lessons learned for doing youth, cultural, and educational work towards self-determination in communities of color.

This chapter examines the relevance of multimedia technologies in Psychedelic Trance gatherings, exploring its technical, sensory and spiritual convergence. Technology devices have always been a part of our lives, from the first artefacts of early humanity to the most sophisticated of our era, where technology has taken control of some aspects of our lives. In the late twentieth century, a new stage of history characterized by the transformation of our material culture through mechanisms of a new technological paradigm started. We live in communion with all kinds of technologies that complement and extend us in most of our existential aspects, not only in a technical way but also a personal, emotional and even spiritual level. The electronic dance music and its relevance in modern cultures can be a reflexion of this reality, where new technologies and multimedia tools have awakened neo-ritual practices in Psychedelic Trance gatherings, evoking tribal experiences with shamanic foundations, and mediated by high-tech guide elements.

J’aimerais tenter dans cette communication un rapprochement entre la figure contemporaine et occidentale du DJ d’une part et la figure ancestrale et tribale du chamane d’autre part : plus précisément, j’aimerais pousser l’hypothèse que les DJs sont devenus les chamanes de nos sociétés occidentales parce qu’ils remplissent les mêmes fonctions que ces derniers, étant perçus avec le même mélange de dévotion et de marginalité dans les  sociétés où ils officient pour le bien de leur communauté.
Quand bien même la meilleure façon d’étayer ce rapprochement serait de mener un exercice d’anthropologie comparative, j’aurai pour ma part recours à la littérature française et puiserai mes exemples dans les trois romans contemporains que sont Sphinx, publié en 1986 par Anne Garréta, Vacances dans le coma, publié en 1994 par Frédéric Beigbeder, et Vernon Subutex, trilogie dont on attend le dernier volume et dont les deux premiers tomes ont été publiés en 2015 par Virginie Despentes. Je développerai ma thèse en reliant ces exemples littéraires à deux livres qui font référence en matière d’anthropologie du chamanisme : il s’agit de Shamanism, publié par Piers Vitebsky en 1995 et de Shamanism, a Concise Introduction, publié en 2003 par Margaret Stutley.

House music has had a considerable influence in shaping the sound of pop music from the late 1980s onwards. From underground dance events to the pop charts, traces of this aesthetic can be found in many guises. This book is a comparative study which traces a genealogy of house music across England, the Netherlands and US cities, such as Chicago, from the early 1980s to the first half of the '90s. In doing so, it maps some of the power structures that are at play in the uses of its specific technologies of production and consumption. The author, Hillegonda Rietveld, was already steeped in dance club culture before she decided to write this loving piece of academic prose about house. Taking critical cultural studies as a vehicle and house music as its aesthetic fuel, she ram raids boundaries of academic disciplines, fusing ideas like a meticulous DJing curator.

Mashups are a specific type of sample-based music where ‘new’ songs are created entirely from ‘old’ recordings. They contain no ‘original’ material and are the most overt examples of intertextuality in popular music. Vocal and instrumental parts are separated from musical backing through the process of ‘unmixing’. Many of these extracts circulate freely (and often anonymously) on the Internet awaiting recombination with other samples. Following a brief history of mashup pioneers and an overview of its key players, I utilise a range of theoretical approaches to raise questions about originality and the role of the author as it pertains to entirely-sampled music. Permeating the essay are considerations of modernism and postmodernism. I suggest that the collaging, self-referential, ahistoric, postmodernistic tendencies of mashup creation are tempered by the outward-looking, inclusive, modernistic tendencies of DJ culture.

Jos Turku tunnetaan erityisesti joistakin musiikin lajeista, niin yksi niistä on elektroninen tanssimusiikki, ja konemusiikki laajemminkin. Monet menestyksekkäät elektronisen populaarimusiikin artistit ja yhtyeet, arvostetut levy-yhtiöt ja musiikkikaupat sekä muut toimijat ja yhteisöt ovat lähtöisin Turusta ja lähialueelta. Tässä pääluvussa luodaan katsaus turkulaisen konemusiikin vaiheisiin sekä aktiivisiin henkilöihin ja yhteisöihin, jotka ovat tuottaneet kaupunkiin muun muassa tapahtumia ja festivaaleja. Pyrkimyksenä on antaa vastauksia kysymyksiin, miten ja miksi elektroninen musiikki ja sen ympärille syntynyt monimuotoinen toiminta on kehittynyt ja vaikuttanut Turun kaupungissa ja miten tietoisuus konemusiikkikulttuurin historiasta ja vaikutuksesta näkyy toimijoiden ja yhteisöjen itsemäärittelyssä.

Connecting three generations of music enthusiasts, Goa Gil is an imposing figure in the world of psychedelic trance. If the title of his 2007 compilation registers intent, he is a Worldbridger. Bristling with motifs of world sacred sites and appropriated "tribal" icons, with Gil seated cross-legged upon the apex of a Mayan temple, the album's cover artwork confabulates the physical, spiritual and cultural worlds he professes to bridge. Leading world-wide "trance dance rituals" Goa Gil operates under the guise of a "techno-shaman", a "cyber-baba" and a selector/mixer of traditions whose rituals are reputedly timeless and universal. But this intent is performed amid a highly mobile lifestyle spread across diverse psychedelic music cultures, scenes and sensibilities in discrete times and places. From the 1960s Haight-Ashbury psychedelic rock scene, to the psychedelic jam band scene on Anjuna beach, Goa, India, in the 1970s, to the adoption of electronic music in a DJ-led scene in the 1980s, to the birth of "Goa trance" in the 1990s, to his selection, production and performance of dark psychedelic trance in the 1990s/2000s onwards, DJ Goa Gil's life spans a breathtaking panorama of this-worldly psychedelic scenes. Gil is a freak bricoleur, an anomalous figure who evades modest circumscription. A Californian exile and sanctioned Shaivite practitioner with a professional hankering for darkpsy (as a DJ-producer), a hippie broker of the "Cosmic Spirit" and a post-apocalyptic punk, he is a spiritual authority and cultural outlaw touring the planet with an improbable mix of semiotic and sonic baggage. What's more, celebrated as a champion of the "Goa vibe" or derogated as an accomplice to its demise, Gil is a controversial figure who is the embodiment of considerable ambivalence. This article explores this holiest of anomalies in the world of DJing.

Article on German minimal techno and discourses of minimalism, published in a special issue of JPMS on German Pop:
Journal of Popular Music Studies 25, no. 2(2013): 154-84.
http://onlinelibrary.wiley.com/doi/10.1111/jpms.2013.25.issue-2/issuetoc

Taking place in the Black Rock Desert of Nevada for one week every August, Burning Man is a unique event, with a distinct event-culture. Over the course of thirty years, it has evolved from a
summer solstice festival, first held on San Francisco’s Baker Beach in 1986, into the world’s largest temporary city. With Immediacy, Radical Inclusion, and Civic Responsibility among its diverse Ten Principles, Black Rock City is a uniquely contested context for the performance of dance music. While the chapter recognizes that the event is not a music festival, EDM or otherwise, navigating the history of this dramatic field of contestation, it examines how the
composite art form of dance music has established its place in the event’s attention economy. At the same time, the chapter demonstrates how policy initiatives seek to distinguish Burning Man from other events, notably EDM festivals. From the outlaw “rave camps” of the early 1990s to the Techno Ghetto, and from the Large-Scale Sound Art Zone to Mutant Vehicles mobilizing in an escalating charms war, the chapter explores solutions, policies and compromises integral to the evolution of electronic dance music culture in Black Rock City. Based on the author’s experience
at four events and analysis of extensive online discussions, with a focus throughout on event-tribe the Space Cowboys, the chapter demonstrates how Burning Man’s unique principles have had a shaping influence on electronic dance music culture at the event.

Đối với ngành nghề Dj thì đây là một ngành được xuất hiện rất nhiều trong 10 năm gần đây. Các dj chuyên nghiệp bây giờ thường sử dụng những thiết bị điện tử dành cho âm nhạc như đầu CDJ hay DJM. Trong đó có tập đoàn Pioneer là tiêu biểu nhất. Nhận thấy tình hình và chiến lược xây dựng kế hoạch Marketing Mix về đầu CDJ 2000NXS và máy trộn DJM 900NSX còn nhiều vấn đề cần giải quyết nên trong bài đồ án này sẽ tập trung nói về tình hình của tập đoàn Pioneer cũng như hoạt động marketing mix cho các sản phẩm của mình. Từ đó đưa ra giải pháp để nâng cao hiệu quả hoạt động Marketing Mix tại tập đoàn Pioneer

This chapter examines how a heterogeneous post-1960s haven for cultural
exiles evolved into a globalized traveler dance music phenomenon. In the
late 1960s and into the 1970s, Goa, the former Portuguese colony of India,
was a destination for traveler ‘freaks’ making departure from the worlds of
their upbringing. In Goa, these travelers procreated a live dance music scene
that developed in the 1980s as a seasonal paradise for ‘trance dance’ parties
led by pioneer DJs, who mixed diverse electronic music for travelers from
locations around the world. These parties were the product of flows of travelers
carrying the latest sounds out of scenes from Paris to London, Rimini
to Ibiza, Berlin to Amsterdam; from a psychedelic tribalism nurtured in
the seasonal DJ-led scene that escalated by the turn of the 1990s, reaching
a peak by the mid-1990s, around which time several factors conspired in
its demise. Among these was the emergence of Goa Trance,1 a psychedelic
trance music that intended to capture the ‘essence’ of the idyllic parties in
Goa through a psychedelic orientalism, a marketed theme compelling the
growth of trance tourism. While the genuine Goa scene declined as a result,
Goatrance, and subsequently psytrance, fl ourished around the world as
evidenced by its paramount expressions, psychedelic festivals. Once traveler
festivals, and thus homes for Goatrance travelers, these events grew to
become recreational destinations for the psychedelic traveler, who is now
less likely to have visited Goa, nor perhaps traveled far from home. Today,
in regional party and festival organizations, the romance of the traveler
sensibility infuses a global event-culture.

La expansión de la música electrónica y las fiestas para bailar durante
largas horas ha sido un fenómeno cultural muy significativo en el cambio de siglo. Varios estudios se han referido a estas prácticas de baile y
a sus diferentes escenas. Sin embargo, la figura del Dj en tanto músico,
junto a sus sucesivas transformaciones durante el proceso de legitimación social de la electrónica dance, se encuentra escasamente problematizado. Este trabajo se propone hacer una aproximación a los diferentes momentos que atravesó la figura del músico/pinchadiscos desde su
aparición en el contexto local como musicalizador y Disc jockey hasta el
reconocimiento del Dj como artista y su incorporación al espacio de la
producción musical.

"The object of this essay is the world of DJing within the Electronic/Dance music (E/DM) scene, more specifically the ever evolving meanings given to the different technologies DJs use in their work. Vinyl had consolidated itself as the main medium and one of the very symbols of the so-called DJ culture over a long period of time since the beginnings of DJ culture in mid-Seventies. The introduction of the Compact Disc and cheap home CD burners in the Nineties started wearing away a part of its untouchability, but it was in the following decade that vinyl saw itself relegated in a sensibly less important position within the E/DM DJs' preferences, after the introduction and the ongoing development of computer softwares allowing DJs to play music files allocated in their laptops.
Having vinyl developed a great following between DJs and strong symbolic associations with DJ culture, the appearing on the market of alternative supports have always provoked suspicious attitude between the insiders, often leading to claims of “inauthenticity” and “cheating” applied on these formats. Actually this situation often occurs when a significant technological development is introduced that seems to threaten a culturally well-established one, which is deemed “authentic”. Yet marks of authenticity are never really fixed on a cultural object, being it a technology or a set of practices, but are always redefined in a complex process that involves the overcoming of old conceptions and the creation of new authenticities.
Now that the use of digital devices by DJs has been widely accepted, some people both in the academies and among the insiders argue and hope that vinyl medium is rapidly going to disappear. What appears though is that its use and meanings given to it are being remediated, the analogic DJ medium seeming to have just redefined its position within the field. If it is a matter of fact that the majority of professional DJs use either CDs or (for the most part) laptops in their club activities, it is anyway true that new occasions are coming out in which the presence of vinyl medium is given new and highlighted consideration. Moreover, a great number of artists and connoisseurs seem to be happy to demonstrate how vinyl and digital formats are not necessarily to be conceived as opposed and mutually excluding, but as devices offering different possibilities, exploitable in different ways."

Esta investigación es un trabajo en proceso, y es el segundo escrito de una serie de artículos relacionados a la nueva generación de Djs y música electrónica en Puerto Rico. El primer artículo fue publicado en inglés por el blog de música La Rabieta/Clandestino Puerto Rico y se tituló We are DJ's: Queer, Feminists, and Fierce. En esta nueva versión se propone una investigación más detallada y la discusión sobre la nueva representación de Djs en Puerto Rico. Asimismo, se tocará de forma introductoria la normativa mayormente masculina de "El Dj" en nuestra sociedad y cultura; se introducirán un grupo de Djs mujeres pertenecientes a la comunidad lgbtq+ en la escena musical independiente en Puerto Rico, que están abriendo y creando espacios de sanación y empoderamiento. Tanto así, que algunas de éstes fueron lxs protagonistas del levantamiento del "perreo combativo" en el Verano 2019 en Puerto Rico.

With contributions by (in order of appearance) Hillegonda Rietveld, Bernardo Alexander Attias, Anna Gavanas, Rosa Reitsamer,  Mirko M. Hall, Naida Zukic, Kai Fikentscher, Jonathan Yu, Ed Montano, Chris Christodoulou, Tim Lawrence, Ivan Paolo de Paris Fontanari, Johanna Paulsson, and Simon A. Morrison.
//
The DJ stands at a juncture of technology, performance and culture in the increasingly uncertain climate of the popular music industry, functioning both as pioneer of musical taste and gatekeeper of the music industry. Together with promoters, producers, video jockeys (VJs) and other professionals in dance music scenes, DJs have pushed forward music techniques and technological developments in last few decades, from mashups and remixes to digital systems for emulating vinyl performance modes. This book is the outcome of international collaboration among academics in the study of electronic dance music. Mixing established and upcoming researchers from the US, Canada, the UK, Germany, Austria, Sweden, Australia and Brazil, the collection offers critical insights into DJ activities in a range of global dance music contexts. In particular, chapters address digitization and performativity, as well as issues surrounding the gender dynamics and political economies of DJ cultures and practices.

Content:
1: Introduction - Hillegonda C. Rietveld
2: Subjectivity in the Groove: Phonography, Digitality, and Fidelity - Bernardo Alexander Attias
3: DJ Technologies, Social Networks, and Gendered Trajectories in European DJ Cultures - Anna Gavanas and Rosa Reitsamer
4: ‘Journey to the Light’? Immersion, Spectacle, and Mediation - Hillegonda C. Rietveld
5: The DJ as Electronic De-Territorializer - Mirko M. Hall and Naida Zukic
6: ‘It’s Not the Mix, It’s the Selection’: Music Programming in Contemporary DJ Culture - Kai Fikentscher
7: Electronic Dance Music and Technological Change: Lessons from Actor-Network Theory - Jonathan Yu
8: DJ Culture and the Commercial Club Scene in Sydney - Ed Montano
9: DJs and the Aesthetic of Acceleration in Drum ‘n’ Bass - Chris Christodoulou
10: The Forging of a White Gay Aesthetic at the Saint, 1980-84 - Tim Lawrence
11: DJs as Cultural Mediators: the Mixing Work of São Paulo’s Peripheral DJs - Ivan Paolo de Paris Fontanari
12: War on the Dance Floor: Synthscenen’s Military Power Games - Johanna Paulsson
13: DJ-Driven Literature: A Linguistic Remix - Simon A. Morrison

Reviews:
"DJ Culture in the Mix offers not only a broader picture than the standard monolithic account, but a refreshingly different type of picture - a cubist approach, with a dozen viewpoints thrown unpredictably together.... (It) might not be a definitive statement on DJing or danceculture, but it's a timely representation of just how broad the subject is - and should be" - Adam Harper for The Wire, April 2014, p 76.

"There are good books on dance clubs and dance music, but this is the first volume on the figure of the dance music DJ and it is most welcome. DJ Culture in the Mix is well-organized, up-to-date and genuinely international, and brings together many of the leading figures in dance music studies. Highly recommended” - Prof Will Straw, 2013.

"Exploring everything from the fractious taste politics of New York gay clubland during the post-disco eighties to the cult of speed in 21st Century drum ‘n’ bass, DJ Culture in the Mix is a collection of probing, insightful essays that will provide stimulation and enlightenment for dance music scholars and dance music fans alike” - Simon Reynolds, 2013.

Mexican Sonideros are sound systems that organize popular dances in the poor neighborhoods of Mexico City. hey also operate in other Mexican cities and parts of the USA, where many Mexican immigrants live and work. In some aspects, they are very similar to other Latin-American sound systems such as Brazilian Tecnobrega and Funk Carioca, and Colombian Picoteros. However, Mexican Sonideros have some features that make them quite unique. Mexican Sonideros stand out for DJ performance: he DJ constantly talks over the music, adjust its speed and adds sounds efects that contribute to make a bridge between tradition and modernity. heir repertoire includes Cuban music hits of the forties, salsa and cumbia, from the classic to these days. One of the most unique elements is the new bodily practice introduced by dancers. he common gender markers of this kind of music disappears and new corporalities emerge in the bosom of gay and transvestite community.

COLETIVO PRAGATECNO LANÇA EBOOK GRATUITO SOBRE MÚSICA E CENA DE DJs
Editado por Gil Maciel, através da DaMãeJoana Casa Editorial, o ebook PRAGATECNO ― uma outra cena da mesma traz entrevistas, ensaios, artigos jornalísticos, depoimentos e fotos, conectando os temas dj, cena musical e tecnologias. O livro é estruturado em 4 capítulos. Em Música e tecnologias, os textos buscam refletir sobre a conexão entre esses dois campos e seus impactos na cena dos djs. Destaque para o ensaio inédito do prof. dr. Pedro Nunes Filho da UFPB que versa sobre arte, tecnologias e processos criativos.
O Capítulo Música e cena conta com entrevistas e textos mais informais sobre as manifestações/atuações dos djs – destaques para a entrevista com o prof. dr Jeder Janotti (UFPE) sobre música e estudos culturais e para o ping-pong entres os djs e pesquisadores Cláudio Manoel Duarte e Adriana Prates, discutindo questões da cultura do dj.
O capítulo Música e mercado indaga sobre a correlação (quase) sempre tensa entre a arte e suas formas de consumo comercial, destacando a entrevista com Cláudia Assef, escritora, “djéia”, jornalista e autora do livro Todo Dj Já Sambou.
Já no capítulo Noções e funções, o livro abre espaço para espelhar um mosaico de opiniões  sobre a idéia de cena e as funções do artista dj. Sobre cena, falam os pesquisadores e artistas Claudia Góes (RJ), Daniel Quaranta (MG), Goli Guerreiro (BA), Jeder Janotti Jr. (PE), Jorge Cardoso Filho (BA), Nadja Vladi (BA), Simone Pereira de Sá (RJ), Stefanie Alisch (Alemanha), vj pixel (BA/SP), destacando o convidado especial, prof. dr. Will Straw, do McGill Institute for the  Study of Canada (McGill University/Canadá), referência nos Estudos Culturais Canadenses. Neste mesmo capítulo nada menos que 39 djs do Brasil dão seu curto depoimento, definindo seu conceito de dj e elencando funções do mesmo, dentre eles Dj Patife, Ranato Cohen, Dolores… Ainda nesse capítulo, um artigo com os conceitos iniciais que estruturam o discurso do Coletivo Pragatecno, quando de sua fundação, em 1998.
O ebook é encerrado com pequenas notas e listas sobre  o netvídeo lançado no Youtube com o mesmo título, um texto sobre as coletâneas musicais SomBinário, editado pelos selos cariocas Utter e Putz Records, livros sobre emusic no Brasil, links e listas de filmes e videoweb sobre dj e sua cultura.
O ebook PRAGATECNO ― uma outra cena da mesma, organizado por Adriana Prates Sacramento e por Cláudio Manoel Duarte, faz parte das publicações do evento do Pragatecno Seminário "De onde viemos, para onde vamos?", coordenado por Marcos Sandes, com apoio da Secretaria de Cultura do Governo da Bahia-Secult, como prêmio do Edital de Música. O ebook conta com fotografias de
Alessandra Nohvais, projeto gráfico e diagramação
de Gil Maciel, capa e abertura de capítulos
 de Lola B. e revisão
de Adriana Prates Sacramento e Marcos Sandes.
O livro pode ser baixado gratuitamente em http://www.pragatecno.com.br

PRAGATECNO ― uma outra cena da mesma
Organizadores: Adriana Prates Sacramento e Cláudio Manoel Duarte de Souza
Autores: vários
Editora: DaMãeJoana Casa Editorial
Ano: 2015
Edição: 1a.
Número de páginas: 106
Idioma: português
Formato: ebook/pdf/cor
Distribuição: gratuita, no site www.pragatecno.com.br



Para citação:
SACRAMENTO, Adriana Prates; SOUZA, Cláudio Manoel Duarte de (Org.). PRAGATECNO ― uma outra cena da mesma. 1a edição (ebook). Salvador: DaMãeJoana Casa Editorial. 2015. Disponível em: www.pragatecno.com.br, acesso em (dia/mes/ano)

As an electronic dance music movement, for over 20 years, psytrance (psychedelic trance) has been a context by which sonic, visual, pharmacological and virtual media have facilitated the expression of interwoven narratives, experimental modes of performance, and the experience of intense sociality in scenes the world-over. A key theme adopted within this movement is the ‘tribe’, the discourse around which is multivalent, though here I focus on the transgressive dimensions of psytrance to which one is attached as a member of a tribe apart. The article provides detailed examination of the outlaw figure and sensibility in psytrance, illustrating how cultural producers –e.g. DJ-producers, label owners, scene writers, event management – facilitate the party vibe, and a distinct ‘psychedelic. or ‘freak’ identity via this trope. Among the chief icons of performance, prestige and tribalism sampled within psytrance music and culture, the outlaw is adapted from popular cultural sources (especially cinema) and redeployed as a means of dissolving and performing difference. The exploration of the outlaw conceit in what I call nano-media amplified by the producers of psytrance music illustrates how a psychedelic fiction is generated. Specific, although not exclusive, attention is given to Israeli producers, which offers comment on psytrance in Israel where this music is considered popular.

Mixing and Mastering music are two different units but similarly, important parts in the sound creation handle that can frequently end up plainly obscured and difficult to differentiate between. Fundamentally, mixing is the progression before acing that includes changing and adjusting singular tracks together to frame a stereo sound record after mix down. The stereo document is then mastered, which guarantees that the different tunes are plainly cleaned and frame a strong entire on a collection. This characterizes mixing and acting in their most straightforward structures. Mixing and Mastering Audio: Tips to Mix Your Beats like a Pro We should investigate the various different contrasts between mixing and mastering, while mixing or mastering your beats remember you are taking part in a great evolving art form. It began in the South Bronx of New York City in the 1970s; hip hop experienced transition, revolution and even decline; yet it finally secured its place within the mainstream in 2 000s. When producing hip hop albums, it is important to consider first the music beat as it requires a combination of music pattern by mixing derivative pieces of different songs. Final mixes are usually then submitted for mastering. Mastering is the final touch in polishing an audio production for an album as it enhances the clarity of mixes making the sound of songs to be more coherent and ensuring that the mixes sound well on any audio devices. Mixing beats may sound simple, but there are important points that you should know before submitting your track for mastering.

André Sirois, a.k.a. DJ Food Stamp, the man behind the turntables on mixtapes by some of my favorite emcees, including Sean Price, Planet Asia, Common, M.F. Doom, and Atmosphere, grasps that tonal history. In his book 'Hip Hop DJs and the Evolution of Technology: Cultural Exchange, Innovation, and Democratization', Sirois argues that in its complexity, Hip Hop culture is itself a new media culture. Current so- called “new media” can be traced back from smartphones and the internet to landlines and the telegraph. Following Hip Hop DJs’ hacking of recording technology and playback from Grandmaster Flash’s mixer toggle-switch and Grand Wizard Theodore’s manual scratch to digital sampling and Serato, Sirois historicizes the technical evolution and cultural practices of Hip Hop DJs as new media.

This article explores Finnish " iskelmä " music (schlager, Finnish light popular song) and the associated pavilion dance culture as a retro phenomenon in an urban nightclub environment in the We Love Helsinki (WLH) events. I particularly focus on the DJs' strategies in creating a sense of community among the clubbers, and how the events have become a forum to pursue romance among audience members. I will argue that the notion of iskelmä is used as a performative resource by the audience that influences their behavioural patterns. A performative reading of the audience is done by considering how gender positions are articulated and understood in this context. The study is theoretically informed by performance studies and methodologically the research is based on fieldwork conducted between 2012 and 2014, comprising semi-structured interviews with DJs and observations at four large WLH events during this period. Additional material includes WLH promotional material and media coverage of the events.

Atualmente, a projeção mapeada (video mapping), tem se desenvolvido em diversos eixos de linguagem, aproximando-se com mais intensidade de interfaces multissensoriais e imersivas. A multissensorialidade, aplicada à arte computacional, contribui para que artistas tecnológicos adaptem ferramentas direcionadas à construção de trabalhos poéticos, em que os resultados são obtidos através de extensas experimentações. Trata-se de uma busca por expressar sensações as quais são possíveis pela interatividade, resultando na inovação e no desenvolvimento de ferramentas, hardwares e softwares específicos para construção de uma linguagem híbrida, mergulhada na hipermídia. Este estudo investiga os aspectos de desenvolvimento técnico de interface e da programação multimídia envolvidos no processo de criação de sistemas interativos com discos de vinil. O disco de vinil foi ressignificado como “tela de projeção”, e a partir disto a pesquisa foi desenvolvida na idealização de um sistema de interação e geração de conteúdo multissensorial, onde a imagem cinética e o som eletroacústico digital se unem com a tatibilidade para compor um sistema complexo de interação e geração de conteúdo multissensorial. O desenvolvimento dos experimentos descritos neste estudo, assim como os seus resultados, estão conectados à uma busca por suportes não convencionais para projeção, como o vinil, e na criação de obras artísticas em que a autonomia do usuário em sentir outras funcionalidades é dada pela ressignificação do mesmo.

Palavras-chave: projeção mapeada, interatividade, multisensorialidade, vinil projetável, inovação

American hystory has for long substantiated its legitimacy through enforced repression against the subaltern. The work of the individual who has been queer(ed) by Western constructions of hystory then becomes an endless process of reframing the self in relation to these constructs, allowing for a cyclical reconstitution of whiteness as normative. Through autoethnography, queer phenomenology, poetry, lyric essay, and performance, "Femme Working : Reenvisioning Hystory Through the Subaltern" utilizes an engagement with self-formation that positions the queer(ed) self as a subject of hystorical analysis, a (pro/re)clamation of existence in a world that works towards eradicating difference. This work, through written and movement research, explores the potentialities of queer utopian idealism and actuality, a radical engagement of experience and emotion that reconfigures power in the worlds happening around and through us.

Lançado em 10 de novembro de 2016, o livro 1976: Movimento Black Rio, dos jornalistas Luiz Felipe de Lima Peixoto e Zé Otávio Sabadelhe, celebra os quarenta anos da manchete de Lena Frias, Black Rio: o orgulho (importado) de ser negro no Brasil, publicada em 17 de julho de 1976 no Caderno B do Jornal do Brasil. Em 28 reportagens, os autores recorrem a entrevistas e material previamente publicado para contar a história da cultura de bailes que, alimentados por soul, funk e disco afro-norte-americanos, espalharam-se pela Zona Norte carioca nos anos 1970, bem como a história do conjunto das apropriações desses gêneros por Tim Maia, Toni Tornado, Hyldon, Carlos Dafé, Cassiano, Gerson King Combo, Dom Salvador e Abolição, União Black, e Banda Black Rio. O livro tenciona constituir “uma contribuição à construção discursiva de uma memória social positiva da população negra brasileira” e oferece elementos para um trabalho necessário de revisão historiográfica que transcende o âmbito do tema tratado, apesar de erros fatuais que poderiam ter sido corrigidos por cruzamento de dados.

Prompted by a moment in the classroom in which the DJ becomes integral for the writing instructor, this article looks at how the hip-hop DJ and hip-hop DJ/Producer become the intrinsic examples for first-year college writing students to think about how they conduct revision in their writing. After a review of two seminal hip-hop books and other scholarly sources that situate the viability of
hip-hop discourse in the classroom, this article frames the hip-hop DJ as critical to the progression of the hip-hop producer and uses the hip-hop DJ/Producer as the catalyst for revision by looking at the original version and remix of two classic hip-hop songs. The unique collaborative investment between the hip-hop DJ/Producer and emcee/MC in creating ‘the remix’ presents an intriguing conundrum for the ways we might envision teaching practices in composition studies. Central to this moment is the way hip-hop flips the script on racist ideologies constructed as anti-hip-hop sentiments in academic spaces and allows students to absorb the idea of revision in writing studies. Finally, interviews from three
hip-hop DJ/Producers help to demonstrate how the hip-hop DJ sits at the centre of this disrupt.

Since 2004, digital interfaces have become the dominate mode in which professional hip hop djs perform for their audiences. There are a number of benefits and drawbacks to utilizing digital interfaces, such as increased or decreased abilities to improvise. This essay explores the impacts of digital interfaces on the hip hop djs' abilities to improvise and future trajectories of sonic innovation and creativity.

Ein Musizieren mit Medienapparaten der Reproduktion, seien es Plattenspieler, Tonbandgeräte, Sampier oder Reproduktionsklaviere, entspricht nicht den vertrauten Vorstellungen von Instrument und musikalischem Spiel. Musikinstrumente verbinden
wir eher mit individuellem Ausdruck als mit der mechanisch wiederholten
klanglichen Ausführung einer bereits fixierten Struktur.
Welchen Sinn macht es also, mit klangerzeugenden Geräten zu spielen, denen eine
musikalische Struktur bereits eingeschrieben wurde? Welche Rolle kommt
diesem Spiel in kompositorischen Prozessen zu?

The practice of harmonic mixing is a technique used by DJs for the beat-synchronous and harmonic alignment of two or more pieces of music. In this paper, we present a new harmonic mixing method based on psychoacoustic principles. Unlike existing commercial DJ-mixing software, which determines compatible matches between songs via key estimation and harmonic relationships in the circle of fifths, our approach is built around the measurement of musical consonance. Given two tracks, we first extract a set of partials using a sinusoidal model and average this information over sixteenth note temporal frames. By scaling the partials of one track over ±6 semitones (in 1/8th semitone steps), we determine the pitch-shift that maximizes the consonance of the resulting mix. For this, we measure the consonance between all combinations of dyads within each frame according to psychoacoustic models of roughness and pitch commonality. To evaluate our method, we conducted a listening test where short musical excerpts were mixed together under different pitch shifts and rated according to consonance and pleasantness. Results demonstrate that sensory roughness computed from a small number of partials in each of the musical audio signals constitutes a reliable indicator to yield maximum perceptual consonance and pleasantness ratings by musically-trained listeners.

Interview in Switzerland with International DJ Frank Dougan AKA Frankie Dee

A "DJ" is not only playing records.....

"My job is a unique chance to meet people, Frankie Dee explains in his broad Scottish accent;
nowhere else you can watch people as good as in that job, nowhere else you can learn how to listen and respond to their moods and feelings".

Who now thinks that he is a psychologist is completely wrong. Frankie Dee is working as a DJ at Hotel Furigen (Luzern)

With his 35 years, his water-blue eyes, his dark and elegant suit, his shy, but friendly smile he is not looking like the cliche of a DJ (blond, daredevil).

Psychology and playing records - what has one thing to do with the other, some laymen would ask.

"A DJ is not only somebody who is putting records on", the Scot patiently explains with his dark, rough voice, "when I put records on, on a night in a club, I have to feel the mood of the audience to find out which music I have to play so I can make them start to dance...."

Most of the times Frankie Dee starts with a slow, well-known song like "I just called to say I love you", then he comes up with big hits from Michael Jackson or George Michael to seduce people to come to the dance floor.

"I change the style every 20-30 minutes, everybody should have the chance to dance", Frankie Dee says.

Since more than 9 years the Scot is traveling around the world with his records.

Hongkong, Las Vegas, Glasgow, Essen, Frankfurt, Düsseldorf, Passau, Luxemburg, Black Forest, Grenchen, Saas Fe, Frick, Zug, Oslo, Luzern and Stansstad.

"In Scotland I have always been in the music scene and I sometimes played my records in a disco", Frankie Dee leisurely explains his turbulent path of life.

"One day I had the idea to have a mobile disco so people could book me for events."

He did it until somebody "pulled strings" for him and he found work in Paul Anka´s disco in New York.

From now on Frankie Dee´s life were the black records on the turntable.

He moved in Germany and Switzerland from Dancing club to Dancing club, worked in luxury hotels in Hong Kong or in Luxemburg.

Sometimes he returned to his homeland; in some competitions there he made it to the final.....hotel na mes like "Hilton" or the famous "Peninsula" in Hong Kong are flowing easily out of his mouth.

Did he do his job only in such expensive, exclusive places?

"Most of the clubs where like the Hotel Furigen in Luzern, with a special audience, people about and around 25 years.

They don´t like the heavy and loud music; they want to hear the easy-going, light dance-music..."

Do you like the music you´re playing?

"Not necessarily", Frankie Dee says and laughs, "I like Jazz, Soul and Rock from the 70´s.

I also like U2 and the Simple Minds. But the best of all is still Mozart and Strauss."

Now he starts to rhapsodize, tells about his big love Wolfgang Amadeus Mozart, describes the radio play, the BBC did about his idol.

"I think I´ll move my direction to more classic songs", he means.

He offers a wide spectrum; he´s got about 10.000 albums in his collection.

1000 of them are always "on the road" with him and his girlfriend in the VW bus.

His future in music is clear.

Relational leadership theory views leadership as a process of social construction in which participants engage through their bodily presence. The ‘in-between’ space connecting leaders and followers, however, is under-researched and has not been analysed with a focus on movement. With a phenomenological approach and dance theory, this study explores movement by considering techno DJs and their live performances to an audience in clubs. It analyses DJs’ insights into relationships between themselves and followers. DJs actively seek physical proximity and use bodily movement and kinaesthetic empathy to relate to the participants, engage in mutual challenge, and embrace the co-creation that emerges. These insights are transferable to many leadership situations that include embodied interaction. The study illustrates that leaders not only ‘have’ bodies, but ‘are’ (moving) bodies who achieve a profound appreciation of the situation. This changes how we conceive of leadership when agency in embodied interaction is conditioned and reciprocated by leaders and followers in the ‘in-between’ space and does not pertain to one or the other.

The philosophical geniuses of the past (Descartes, Hume, Kant, Hegel, Heidegger, etc.) rightfully belong to the era of print media. But that is over. The 21st century is much more about philosophical DJs who deftly manipulate and reconfigure a wide array of samples. And Žižek is, quite simply, a superstar remixer.

This article seeks to introduce and situate a seldom-explored subject: the role and contribution of women hip-hop deejays in the testosterone-filled genre called hip-hop. Grounding the analysis in the interviews of six women deejays – Spinderella, Kuttin Kandi, Pam the Funkstress, Reborn, Shorty Wop and Natasha Diggs – ‘Sista Girl Rock’ works to privilege the words and ideas of these visionary cultural practitioners, sponsors, sound theorists and rhetorical innovators as foundational knowledge, the primary text; the knowledge these women and (re)present becomes paramount in (re)envisioning the ways we view participants of hip-hop culture as the purveyors of knowledge. From this source, we connect various locations of scholarship that can be related to the way(s) these women operate, flourish and maintain as twenty-first-century multimodal thinkers and scholars in a mostly male-dominated industry.