Jamie Renton is given the opportunity to DJ at a local bar called Darbucka. With no prior DJ experience, he nervously agrees. At his first lesson, the resident DJ Karim shows Jamie the basics of fading between songs and mixing beats. For his debut, Jamie struggles at first but eventually finds his rhythm. The party crowd enjoys Jamie's global music selection as well as more familiar hits. Karim advises Jamie to play what he loves rather than just pleasing the crowd. Jamie interviews several expert DJs for tips, including Dave Hucker, a pioneer of world music DJing, and Eric Soul, who blends global beats for clubs.
A group of people go on a drunken adventure after drinking rum and Redbull. They encounter various random people and situations throughout their journey, including a costumed man drinking on a train, crashing a funeral, and chasing a giant squirrel in the park. Their day culminates with the group parading down the street and parting ways in different directions at the end.
The document is a music video script that follows a group of people drinking and partying throughout the day. It begins with shots of people at a run-down house drinking and laughing. They are then seen walking down the street and encountering random people. Shots include the artist singing and dancers in the background. The group is later seen invading a funeral, drinking in the park with enlarged props, and parading down the street still drinking. It ends with shots of where the individual members of the group ended up after separating.
This document provides a list of CD acquisitions from February to June 2010. It is organized by genre including pop music, film music, instrumental music, jazz and blues, Christmas music, and classical music. Many popular artists are listed such as Michael Bublé, Johnny Cash, André Hazes, and Nick Cave. Film soundtracks from movies like Avatar, Alice in Wonderland, and The Road are also included. The classical section covers works by Bach, Mozart, Chopin, Mahler, and others.
Eminem represents the working class of all races through his style of dress and lyrical content that discusses struggles with drugs and poverty, though some criticize him as appropriating black music. Politicians and other critics have labeled him as offensive due to his controversial lyrics that touch on topics like homophobia and misogyny. He feels typecast by fans and the media as his alter ego "Slim Shady" rather than as his true self of Marshall Mathers, which has led to feelings of being underappreciated as a person beyond his persona as an entertainer.
1) The review summarizes a concert featuring the punk band Alkaline Trio along with opening acts Broadway Calls and The Audition.
2) The reviewer describes the energetic performances by both opening bands but finds The Audition to be disjointed and not as polished as Broadway Calls.
3) Alkaline Trio then performs an intense set featuring fan favorites from their catalog to an enthusiastic crowd, interacting well with fans and playing an encore to end the night on a high note. The reviewer gives Alkaline Trio an 8/10 for their solid performance.
This document provides track listings and songwriting credits for an album. It lists 14 tracks from the album including "Over My Dead Body," "Shot For Me," "Crew Love," "Take Care," "Under Ground Kings," and "We'll Be Fine." Each entry includes the songwriters, producers, and studios where the songs were recorded and mixed. It also notes if songs sample or contain elements from other existing works.
Kendrick Lamar - Good Kid, M.A.A.D City: Digital BookletZorrge
This document lists the tracklist for Kendrick Lamar's album "good kid, m.A.A.d city". It contains 15 songs, including features from artists like Drake, Jay Rock, and Dr. Dre. The tracklist is followed by production and album credits, thanking those involved in the making of the album such as the producers, mixers, and photographers.
A group of people go on a drunken adventure after drinking rum and Redbull. They encounter various random people and situations throughout their journey, including a costumed man drinking on a train, crashing a funeral, and chasing a giant squirrel in the park. Their day culminates with the group parading down the street and parting ways in different directions at the end.
The document is a music video script that follows a group of people drinking and partying throughout the day. It begins with shots of people at a run-down house drinking and laughing. They are then seen walking down the street and encountering random people. Shots include the artist singing and dancers in the background. The group is later seen invading a funeral, drinking in the park with enlarged props, and parading down the street still drinking. It ends with shots of where the individual members of the group ended up after separating.
This document provides a list of CD acquisitions from February to June 2010. It is organized by genre including pop music, film music, instrumental music, jazz and blues, Christmas music, and classical music. Many popular artists are listed such as Michael Bublé, Johnny Cash, André Hazes, and Nick Cave. Film soundtracks from movies like Avatar, Alice in Wonderland, and The Road are also included. The classical section covers works by Bach, Mozart, Chopin, Mahler, and others.
Eminem represents the working class of all races through his style of dress and lyrical content that discusses struggles with drugs and poverty, though some criticize him as appropriating black music. Politicians and other critics have labeled him as offensive due to his controversial lyrics that touch on topics like homophobia and misogyny. He feels typecast by fans and the media as his alter ego "Slim Shady" rather than as his true self of Marshall Mathers, which has led to feelings of being underappreciated as a person beyond his persona as an entertainer.
1) The review summarizes a concert featuring the punk band Alkaline Trio along with opening acts Broadway Calls and The Audition.
2) The reviewer describes the energetic performances by both opening bands but finds The Audition to be disjointed and not as polished as Broadway Calls.
3) Alkaline Trio then performs an intense set featuring fan favorites from their catalog to an enthusiastic crowd, interacting well with fans and playing an encore to end the night on a high note. The reviewer gives Alkaline Trio an 8/10 for their solid performance.
This document provides track listings and songwriting credits for an album. It lists 14 tracks from the album including "Over My Dead Body," "Shot For Me," "Crew Love," "Take Care," "Under Ground Kings," and "We'll Be Fine." Each entry includes the songwriters, producers, and studios where the songs were recorded and mixed. It also notes if songs sample or contain elements from other existing works.
Kendrick Lamar - Good Kid, M.A.A.D City: Digital BookletZorrge
This document lists the tracklist for Kendrick Lamar's album "good kid, m.A.A.d city". It contains 15 songs, including features from artists like Drake, Jay Rock, and Dr. Dre. The tracklist is followed by production and album credits, thanking those involved in the making of the album such as the producers, mixers, and photographers.
Mary J. Blige - My Life II - The Journey Continues (Act 1)Zorrge
Jesus Garnica. Additional Mixing by Peter Mokran and Kendu Isaac. Additional Instruments by Ron Fair. Contains
elements of “Now That We Found Love” (K. Gamble/L. Huff), Warner-Tamerlane.Publishing Corp. (BMI). All rights reserved.
don’t mind Produced by Jerry Wonda. Written by Mary J. Blige, Priscilla Renea Hamilton, Jerry Wonda. Publishers: Mary
J. Blige Music/ Universal Music Corp (ASCAP); Priscilla Renea. Productions/ Power Pen Biz Publishing/ WB Music Corp (ASCAP).
Recorded by Serge ‘Sergical’ Tsai at Pl
Elvis Presley La Legende Romantique 1967 70 Bmg France 1998ExoticElvis Presley
This document provides a searchable index of Elvis Presley albums organized alphabetically from A to Z. It lists over 200 album titles along with release dates, studios, labels, and other details. The albums span Elvis' entire career from his early recordings in the 1950s to live performances and compilations from the late 1960s through the 1970s.
Tech house is a genre of house music that emerged in the 1990s and combines elements of techno and house. It features prominent kick drums, rhythmic buildups, and sampled vocals from 1980s/90s songs. The tempo typically ranges from 120-128 BPM, making it suitable for dancing but not as fast as other genres like hardstyle. The tech house scene involves young adults dressing uniquely and dancing at festivals, clubs, and warehouses often while using drugs like MDMA. Album covers for tech house EPs tend to be abstract with minimal text and colorful shapes that match the underground and groovy nature of the music.
Elvis Presley La Legende Romantique 1957 60 Bmg France 1998ExoticElvis Presley
This document provides a searchable index of Elvis Presley albums. It lists over 200 album titles alphabetically from A Capitol Performance Version 2 to Midnight Inspirations A Night To Rem. Each album listing includes details such as release date, studio or live recording, label, and sometimes tracklists. The document allows users to search Elvis Presley's extensive discography.
Mike Raznick is an award-winning composer who has scored over 500 projects for film, television, and games. He specializes in hybrid orchestral soundtracks and has worked with top studios. Raznick's music spans genres and includes scores for shows on CBS, HBO, and games like Ratchet & Clank, Oddworld, and Firefall. He has received praise for his ability to match music perfectly to projects and deliver professionally and on time.
This document provides information about various Elvis Presley compilation albums and soundtracks from his movies. It includes the track listings and download links for albums like Elvis Presley - Elvis At The Movies (2008), Elvis Presley - The Definitive Film album from 1987, and Elvis Presley - 32 Film Hits released in 1984 and 1985. It also lists multi-disc compilation sets like Elvis Songs From The Movies and Elvis Movies that include songs from many of his film performances.
This document provides profiles of 4 legendary guitarists: Jimi Hendrix, Duane Allman, B.B. King, and Eric Clapton. It describes their immense talents and influences. For Hendrix, it highlights his extraordinary live performances that blended blues, rock, and psychedelia in a visually stunning way. For Allman, it emphasizes his revolutionary slide guitar work with the Allman Brothers Band. For B.B. King, it underscores how he electrified the blues and influenced countless players with his passionate style. For Clapton, it notes how even at a young age in the 1960s, his improvisational solos left fans and peers in awe.
- Samy is a 4 year old male chihuahua that is tan with white markings on his tail and face.
- Titan is a 10 year old male tabby cat that is orange and weighs 13 pounds. He is very friendly.
- Rosie is a 9 month old female border collie mix that is black and tan with one white paw. She weighs around 25 pounds.
Starbucks Canada launched a "Notes for Notes" campaign to reclaim the coffee house atmosphere by pairing different types of music with coffee drinks. The campaign suggested music pairings in-store and through a frequent buyer card. It featured Canadian artists and sold their music in digital and CD formats grouped by coffee drink type. The campaign aimed to boost music sales while keeping customers focused on the coffee. It was expected to modestly increase music sales over 5 years, adding $6.5 million in total revenue based on Starbucks' Canadian sales figures.
This document discusses how providing reference services to council staff can benefit both the library and the staff. It highlights that council staff are knowledge workers who need high quality information to do their jobs effectively. By establishing reference services for staff, the library can improve its profile within the organization, enhance perceptions of librarians' professional skills, and increase use of library resources. The document provides examples of reference requests from council staff and models for delivering reference services, such as virtual or physical libraries, databases, and current awareness services. It suggests starting points for providing reference services to staff, such as library cards, staff inductions, newsletters, and using web 2.0 tools.
This document provides performance criteria and details for PhiloSothon 2010 in Victoria. It outlines three levels of performance criteria on a scale of 0 to 25, describing the types of engagement and skills expected at each level. It also provides four potential stimuli for philosophical inquiries, covering the topics of Cassandra, the Ring of Gyges, the idea of God, and art and life. Suggested "big ideas" and sample questions are provided for each topic. The document discusses options for structuring the inquiries and asks for feedback on the best approach. Advice is also given to facilitators on running the inquiries.
Daru Jones discusses his musical influences and career path. He found his "lane" in playing hip hop styles on drums, inspired by The Roots and Questlove. With Jack White, he channels the rock styles of John Bonham. Jones embraces many styles in his playing from jazz, funk, and rock. He brings showmanship to performances inspired by Gene Krupa. Jones collaborates closely with White, adapting his playing to White's visual cues without a setlist. Jones continues to work on projects with his group The Ruff Pack and others that pay homage to musical traditions while further innovating styles.
The document discusses the role and impact of EDM (Electronic Dance Music) DJs on their audiences. It outlines how DJs have influenced various music subcultures and genres over time, such as house music which originated from Frankie Knuckles' remixes in Chicago clubs in the 1980s. The EDM DJ is seen as pivotal in developing their audience's music sense and taste through their live performances and album productions. Research will examine how local DJs in Singapore impact audiences and are viewed compared to international artists, as well as how DJs inspire some listeners to become DJs themselves. Both qualitative interviews and quantitative surveys will be used to understand the EDM community and DJs' techniques for creating emotional dancefloor
Marcel Everett, known by his stage name XXYYXX, is an electronic musician from Orlando, Florida signed to the independent record label Relief in Abstract Records. He gained prominence in the indie music scene at a young age through his experimental lo-fi bedroom productions made using FL Studio and Ableton software. Everett described his music as "Doing drugs on a freeway...underwater" and cites UK electronic artists like James Blake as influences, though there is little scene for that type of post-dubstep music in Orlando. XXYYXX remains a modest musician who is focused on school as well as expanding the local electronic music community.
The document summarizes several music genres and their typical conventions and lyrical themes. For hip-hop, it discusses themes of poverty, struggle, crime/violence, drugs, clothing/wealth that are commonly found in lyrics. For indie rock, it outlines themes of love/heartbreak, youth, and friendship. Electro/techno lyrics focus more on beats and samples than lyrics, though some popular songs incorporate vocals about senses, climbing up/down, and playing music.
Mary J. Blige - My Life II - The Journey Continues (Act 1)Zorrge
Jesus Garnica. Additional Mixing by Peter Mokran and Kendu Isaac. Additional Instruments by Ron Fair. Contains
elements of “Now That We Found Love” (K. Gamble/L. Huff), Warner-Tamerlane.Publishing Corp. (BMI). All rights reserved.
don’t mind Produced by Jerry Wonda. Written by Mary J. Blige, Priscilla Renea Hamilton, Jerry Wonda. Publishers: Mary
J. Blige Music/ Universal Music Corp (ASCAP); Priscilla Renea. Productions/ Power Pen Biz Publishing/ WB Music Corp (ASCAP).
Recorded by Serge ‘Sergical’ Tsai at Pl
Elvis Presley La Legende Romantique 1967 70 Bmg France 1998ExoticElvis Presley
This document provides a searchable index of Elvis Presley albums organized alphabetically from A to Z. It lists over 200 album titles along with release dates, studios, labels, and other details. The albums span Elvis' entire career from his early recordings in the 1950s to live performances and compilations from the late 1960s through the 1970s.
Tech house is a genre of house music that emerged in the 1990s and combines elements of techno and house. It features prominent kick drums, rhythmic buildups, and sampled vocals from 1980s/90s songs. The tempo typically ranges from 120-128 BPM, making it suitable for dancing but not as fast as other genres like hardstyle. The tech house scene involves young adults dressing uniquely and dancing at festivals, clubs, and warehouses often while using drugs like MDMA. Album covers for tech house EPs tend to be abstract with minimal text and colorful shapes that match the underground and groovy nature of the music.
Elvis Presley La Legende Romantique 1957 60 Bmg France 1998ExoticElvis Presley
This document provides a searchable index of Elvis Presley albums. It lists over 200 album titles alphabetically from A Capitol Performance Version 2 to Midnight Inspirations A Night To Rem. Each album listing includes details such as release date, studio or live recording, label, and sometimes tracklists. The document allows users to search Elvis Presley's extensive discography.
Mike Raznick is an award-winning composer who has scored over 500 projects for film, television, and games. He specializes in hybrid orchestral soundtracks and has worked with top studios. Raznick's music spans genres and includes scores for shows on CBS, HBO, and games like Ratchet & Clank, Oddworld, and Firefall. He has received praise for his ability to match music perfectly to projects and deliver professionally and on time.
This document provides information about various Elvis Presley compilation albums and soundtracks from his movies. It includes the track listings and download links for albums like Elvis Presley - Elvis At The Movies (2008), Elvis Presley - The Definitive Film album from 1987, and Elvis Presley - 32 Film Hits released in 1984 and 1985. It also lists multi-disc compilation sets like Elvis Songs From The Movies and Elvis Movies that include songs from many of his film performances.
This document provides profiles of 4 legendary guitarists: Jimi Hendrix, Duane Allman, B.B. King, and Eric Clapton. It describes their immense talents and influences. For Hendrix, it highlights his extraordinary live performances that blended blues, rock, and psychedelia in a visually stunning way. For Allman, it emphasizes his revolutionary slide guitar work with the Allman Brothers Band. For B.B. King, it underscores how he electrified the blues and influenced countless players with his passionate style. For Clapton, it notes how even at a young age in the 1960s, his improvisational solos left fans and peers in awe.
- Samy is a 4 year old male chihuahua that is tan with white markings on his tail and face.
- Titan is a 10 year old male tabby cat that is orange and weighs 13 pounds. He is very friendly.
- Rosie is a 9 month old female border collie mix that is black and tan with one white paw. She weighs around 25 pounds.
Starbucks Canada launched a "Notes for Notes" campaign to reclaim the coffee house atmosphere by pairing different types of music with coffee drinks. The campaign suggested music pairings in-store and through a frequent buyer card. It featured Canadian artists and sold their music in digital and CD formats grouped by coffee drink type. The campaign aimed to boost music sales while keeping customers focused on the coffee. It was expected to modestly increase music sales over 5 years, adding $6.5 million in total revenue based on Starbucks' Canadian sales figures.
This document discusses how providing reference services to council staff can benefit both the library and the staff. It highlights that council staff are knowledge workers who need high quality information to do their jobs effectively. By establishing reference services for staff, the library can improve its profile within the organization, enhance perceptions of librarians' professional skills, and increase use of library resources. The document provides examples of reference requests from council staff and models for delivering reference services, such as virtual or physical libraries, databases, and current awareness services. It suggests starting points for providing reference services to staff, such as library cards, staff inductions, newsletters, and using web 2.0 tools.
This document provides performance criteria and details for PhiloSothon 2010 in Victoria. It outlines three levels of performance criteria on a scale of 0 to 25, describing the types of engagement and skills expected at each level. It also provides four potential stimuli for philosophical inquiries, covering the topics of Cassandra, the Ring of Gyges, the idea of God, and art and life. Suggested "big ideas" and sample questions are provided for each topic. The document discusses options for structuring the inquiries and asks for feedback on the best approach. Advice is also given to facilitators on running the inquiries.
Daru Jones discusses his musical influences and career path. He found his "lane" in playing hip hop styles on drums, inspired by The Roots and Questlove. With Jack White, he channels the rock styles of John Bonham. Jones embraces many styles in his playing from jazz, funk, and rock. He brings showmanship to performances inspired by Gene Krupa. Jones collaborates closely with White, adapting his playing to White's visual cues without a setlist. Jones continues to work on projects with his group The Ruff Pack and others that pay homage to musical traditions while further innovating styles.
The document discusses the role and impact of EDM (Electronic Dance Music) DJs on their audiences. It outlines how DJs have influenced various music subcultures and genres over time, such as house music which originated from Frankie Knuckles' remixes in Chicago clubs in the 1980s. The EDM DJ is seen as pivotal in developing their audience's music sense and taste through their live performances and album productions. Research will examine how local DJs in Singapore impact audiences and are viewed compared to international artists, as well as how DJs inspire some listeners to become DJs themselves. Both qualitative interviews and quantitative surveys will be used to understand the EDM community and DJs' techniques for creating emotional dancefloor
Marcel Everett, known by his stage name XXYYXX, is an electronic musician from Orlando, Florida signed to the independent record label Relief in Abstract Records. He gained prominence in the indie music scene at a young age through his experimental lo-fi bedroom productions made using FL Studio and Ableton software. Everett described his music as "Doing drugs on a freeway...underwater" and cites UK electronic artists like James Blake as influences, though there is little scene for that type of post-dubstep music in Orlando. XXYYXX remains a modest musician who is focused on school as well as expanding the local electronic music community.
The document summarizes several music genres and their typical conventions and lyrical themes. For hip-hop, it discusses themes of poverty, struggle, crime/violence, drugs, clothing/wealth that are commonly found in lyrics. For indie rock, it outlines themes of love/heartbreak, youth, and friendship. Electro/techno lyrics focus more on beats and samples than lyrics, though some popular songs incorporate vocals about senses, climbing up/down, and playing music.
This document provides summaries of several albums from 2004 that did not receive significant commercial attention or sales but were considered quality releases across various musical genres. It highlights albums from Zap Mama blending Afro-funk and beats, Madvillain combining jazz-inspired hip hop, Theo Parish and Rotating Assembly creating soulful house music, Van Hunt skillfully blending blues, soul and R&B, Pete Rock producing classic hip hop styles, and RJD2 producing sample-based music akin to DJ Shadow. The writer recommends these albums for their artistic merits and encourages readers to support artists creating interesting music outside the mainstream.
Drake is a Canadian rapper, singer, songwriter, actor and record producer. Some key facts about Drake are that his real name is Aubrey Drake Graham, he was born in 1986 in Toronto, Canada, and produces hip hop, R&B and pop music. Drake has collaborated with many popular artists and has released several successful albums, including his debut studio album "Thank Me Later" in 2010. He is known for his melodic rapping style and often sings as well as raps in his songs.
This document appears to be a magazine covering music news and culture. The front cover features an article on Damon Albarn and his new solo album. Other articles discuss the 25th anniversary of The Stone Roses debut album, the North Carolina indie label Merge hitting its 25th anniversary, and an interview between Kathleen Hanna and Lauren Mayberry discussing feminism. The document also includes reviews of new music, recommendations of new bands to discover, and various other music-related news and articles.
This document provides information about the lineup and stages for Ultra Music Festival Weekend 1 in Miami. It compares the number of acts between Weekend 1 and Weekend 2, and analyzes some of the main stage acts as well as must-see artists for each day, praising acts like Knife Party, Porter Robinson, Flux Pavilion, Jamie Jones, Boys Noize, Nicolas Jaar, Pretty Lights, Alvin Risk, Major Lazer, Rusko, and Dillon Francis.
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Informative Speech For Electronic Dance Music
Hana Bennett
CST 111
Randee Fendley 6 October 2017
Informative Speech Outline
Specific Purpose: At the end of my speech, my audience will have a better understanding of EDM culture.
Thesis Statement: Electronic Dance Music is more than just bops and scratching sounds; it s a way of life.
Introduction: (Play YouTube video from 1:38 1:58). What you just heard were the sounds of EDM. EDM stands for electronic dance music. Also you saw first hand the inside of a rave called Electric Daisy Carnival (a Las Vegas event famous for finding yourself under the electric sky ). What rave culture means to me is a place I can be myself and express my creativity in a judgment free environment. Today, I am going to explain the history behind the top 3 most popular genres of EDM, and the meaning behind rave culture.
I. The different types of EDM I will be talking about is Dubstep, House, and Trap A. The first genre of music I will be talking about is Dubstep. 1. Dubstep originated in South London, and traced back to the Jamaican sound system in early 1980 s. a. This type of music played in secret underground clubs. This genre was taboo to most people. 2. Dubstep was made popular in the United States by an artist named Skrillex. a. The music website Allmusic classifies The overall sound of Dubstep is classified as tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals (Bush 2012). (Insert sound clip here) B. The second genre of music I will be talking about is House. 1. The origination of house music in the United States began in Chicago s Southside in 1977. a. A new type
RAH is a new DJ joining the Darker Than Wax family who has been involved in the grimy bass scene in Singapore since the Exitmusik days. She got her start DJing around 2006-2007 at venues like Mad Monks and Exitmusik, learning from other DJs. RAH's style focuses on low-end, left-field hip-hop and drum & bass. Some of her favorite event nights to play include Beats and Beyond at Broadcast HQ and +65 at Home Club. Her first gig was in 2009 at Blu Jaz for an all-girls event alongside other female DJs.
The document appears to be a biography or profile of a musician named Nick, listing various musical collaborators and projects over the years. It mentions that Nick performed and recorded with musicians such as Andy Suzuki, Lennie Moore, Roby Duke, Jay Thomas, Clipper Anderson, Mark Ivester, Dee and Steve Huffsteter, Phil Moore, Ken Lasaine, Dean Taba, Jeff Kashiwa, Jake Shimabukuro, B.B. King, Michael Lord, Douglas Barnett, Darren Motamedy, and Pat Senatore on albums, live shows, and sessions between 1999-2008.
Lee Hardey is a 23-year-old rapper from Washington D.C. who grew up with limited options but found rap as his outlet. He co-founded the Trizzick Squad in 2012 to promote hip hop culture and his own talents. Hardey has since worked with various artists on mixtapes and performs locally. His upcoming mixtape "Winter's Baby" is set for release in spring 2013 with promotional support from the Trizzick Squad. The document outlines Hardey's background and rise in the underground hip hop scene as well as upcoming projects and performances that aim to establish him as an iconic figure in hip hop.
This article profiles several female DJs from the UK and US who are making a name for themselves on the international fashion party scene. It discusses their backgrounds, notable performances and bookings, and their role in elevating female DJs. They have become highly sought after, earning fees of over £10,000 per night playing for top designers at high-profile events around the world. They credit the growth of the fashion industry for opening opportunities for women DJs.
David Minnick is a composer and musician from Michigan who founded the Crabid Music label. He draws from unusual sources like answering machine messages, children's recordings, and news broadcasts to compose highly melodic songs. His band the Sursiks is known for its genre-hopping style and absurdist humor. Minnick has also released music by other artists through Crabid, including free jazz by the group Zermos and guitar solos performed with an oven mitt by Oven Mitt Johnson. He cites influences like Negativland and Devo in pursuing unique creative approaches to music.
Trey Alexander is interviewed about winning the 2006 Guitar Player Guitar Hero competition. He discusses his influences like Steve Vai and Greg Howe, his gear including Ibanez and Fender guitars, and Mesa and Fender amps. He also talks about his approach to guitar teaching focusing on each student's individual needs and goals. Alexander prepared intensely for the competition, practicing 15 hours a day along with physical training. Winning fulfilled his late father's dream who had always supported his musical aspirations.
(1) RoodePelikaan is a new indie band from Eastbourne, UK that has risen to fame quickly despite forming in 2008. (2) The band consists of four members who met at university and have been writing songs and performing for years. (3) Their unusual name was inspired by a coffee brand and helped them stand out from other bands.
The document discusses modern dance and who defines what dance is. It notes that over the decades, dancers and artists have pushed boundaries on what is considered dance, with some changing the setting of dances and others altering movement or incorporating new elements. The piece references Alwin Nikolais and how artists have questioned definitions of dance. It aims to examine what modern dance is and who gets to determine what dance encompasses.
The Mercedes Ladies were the first all-female hip hop group formed in the South Bronx in 1976. They paved the way for future female rap acts. The group faced sexism from promoters who would pay male acts but not the Mercedes Ladies. They gained respect from performing alongside legends but struggled without proper payment or support. The group eventually disbanded in the mid-1980s without releasing their own album, though some members continued solo careers and their influence lived on.
The document discusses how the term "world music" is becoming outdated as new artists draw from global urban music styles rather than focusing on traditional folk styles. It highlights several up-and-coming groups like Buraka Som Sistema and MIA that mix genres like kuduro, electro-rock, and baile funk. While events like the BBC World Music Awards still honor more acoustic styles, the democratization of the internet allows these new international artists to find audiences without labels' help. The term "world music" is increasingly seen as too limiting, and the music industry will need to recognize changes in the global music landscape.
African club music is gaining popularity in London. Promoters like Eric Soul have spent years trying to bring contemporary African sounds to London clubs. While African music events have occurred for decades, they often focused on traditional styles rather than modern genres from the continent. Recently, new promoters have emerged playing emerging African fusion styles like Afrobeat, kuduro, and coupé décalé. This has helped shift perceptions and attract diverse crowds no longer tied only to Caribbean culture. New generations of African artists fusing traditional and electronic styles make the music more accessible to European audiences. Promoters are now seizing on these genres and finding audiences open to exploring new global dance music styles from Africa.
The document discusses the state of hip-hop music in Africa. It notes that in 1996, sales figures for Wu-Tang Clan's album in Africa were only 73 units, showing a lack of music infrastructure. However, hip-hop has grown significantly in popularity in Africa since then, blending with local sounds and addressing social issues. The biggest hip-hop artists now come from countries like Nigeria, Senegal, South Africa, and East Africa. Challenges remain in properly marketing and selling African music due to a lack of funding and industry structures.
Eric Soul is a London-based DJ and cultural activist from Rwanda who founded Wahala TV and Afrogroov to promote contemporary African music. Through his show Wahala, Eric highlights African artists blending traditional sounds with modern influences. His goal is to document the evolution of African music and shift perceptions of African heritage. Afrogroov started as a club night mixing African styles with urban genres like hip hop and has grown into a collective behind Wahala that aims to give economic relevance to African music and bust stereotypes. Eric believes interest in new African music represents a cultural shift as people become less in denial of African identity.
1. f 44
AFAT chance
Ever had a secret desire to be a top world music
DJ and have the dance floor doing your bidding?
Jamie Renton jumps in at the deep end…
M B
e? A DJ? You’re having a A few weeks later and I’m back at ack in the early 1980s, Dave
laugh! I was relaxing on a Darbucka to meet up with Karim (the resi- Hucker pioneered the whole
sofa in the newly opened dent DJ) and receive my first lesson. Some- idea of making club crowds
Darbucka basement bar in one’s booked a party there for tonight dance to music from around the
Farringdon and Ahmad, who and he suggests that we can DJ it togeth- world (or at least “two conti-
runs the place, had just invited me to DJ er. I start to feel nervous. “Don’t worry, it’s nents and assorted islands” as he puts it).
there whenever I liked. I’ve never DJ’d easy,” he says as he takes me through the He started spinning his tropical mix at
before and logic should have told me to technical side: how to fade things up and Soho’s Sol y Sombra club back in ‘82. It
politely decline. But the meze and drinks down, how to change the pitch and match burnt down four years later after one of
were going down nicely and Darbucka, beats, how to loop a break and sample it Hucker’s sessions (“I knew I was hot that
with its low lights, Bedouin tent décor over a rhythm… no, I didn’t understand a night, but not that hot!”) and he’s since
and scent of shisha pipes, seems like such word of it either. And with that he leaves hosted tropical and salsa nights in a vari-
a relaxed place that I found myself say- me to demonstrate my (non-existent) DJ ety of London clubs (including a seven-
ing “OK, I’ll give it a go” with the confi- skills. My simple aim is to fade one tune nights-a-week salsa session upstairs at
dence of the truly ignorant. out and another in without a gap in Ronnie Scott’s). “Stay true to what you
Deep down I’ve always wanted to DJ. between. At first I struggle with the tech- want to play,” he advises me. “Don’t play
Back in the 1980s I’d make up tapes for nology. “What’s happening Jamie?” music just because you think that’s what
friends’ parties. But then their tastes shouts Karim from across the (thankfully the punters want to hear. Reading what
became more mainstream and mine empty) bar as I leave another Pinteresque the crowd want is an art that has to be
moved in the opposite direction. They pause between tracks. “Hey DJ!” he yells developed, not all DJs can do it.” For
wanted Phil Collins and all I had was Salif encouragingly when I finally manage to Dave, the key to becoming a successful DJ
Keita, it was never going to work. That segue Khaled straight into Ozomatli. lies in understanding structure. “It’s like
was why the discovery of club DJs Dave Slowly the ratio of “Hey DJ!”s to “What’s taking people on a rhythmical roller
Hucker, Max Reinhardt, Rita Ray and happening Jamie?”s starts to go in my coaster ride. You sometimes go slow,
Gerry Lyseight was such an inspiration. favour. Then the party arrives. It’s an have fast bits, that then go into twists
They played the music that I loved in advertising company’s annual office bash. and turns and surprises.”
clubs full of people who were going wild. They talk in loud voices, play a speed dat- He’s pretty much hung up his head-
It struck me that if I was to get anywhere ing game, have an advertising-based quiz phones nowadays. (“I paid my dues, had
as a DJ I needed to consult with the and politely tolerate my global selection. my ears battered for 22 years in smoky
experts, find out what worked for them “Usually you just play your set regard- rooms!”) and concentrates on putting
and use all this knowledge for my debut less,” Karim tells me, “but when it’s a together compilation albums and acting
DJ appearance. After all, what was the party like this you’ve got to give them as musical consultant for TV programmes.
worst thing that could happen? Well a what they want.” As I drag my bag of CDs I wondered if he could recommend a
whole evening of public shame and up to street level, he’s giving them dead cert floor-filling tune to play when
humiliation obviously, but I decided not Michael Jackson’s Blame It On The Boogie all else fails. “Kataki’s Hula Hoop Jive.”
to think about that. and da joint is jumping! Sorry? “It’s a ‘70s South African jive thing,
with nutso violin and vocals urging us to
do the Hoola Hoop! It never fails on the
floor.” As Dave appears to be the only
person on the planet who owns a copy,
we’ll just have to take his word for it.
Photo: Ahmad Tuba
Jamie Renton
Next I get some hot turntableist tips
from Eric Soul, a West London-based DJ
who specialises in bringing global beats to
a young clubby crowd. Music runs in Eric’s
family: his mother is the excellent Rwan-
dan singer Cecile Kayirebwa and he grew
up in Belgium surrounded by the Rwandan
traditions of music and dance, which pro-
vided his family with important links to
their homeland. Young Eric was more
interested in hip-hop, funk and soul
(hence his nickname). “African music was
what you heard at weddings, it was for the
parents, I thought it was boring!”, the
softly spoken Mr Soul tells me as we sit
outside a Notting Hill bar. “When you’re
young, you’re an African, you’re a
refugee, you don’t have that sense of
pride in who you are. That comes after,
when you have more knowledge.”
This knowledge came in 1996 when,
having cut his DJ teeth playing every kind
2. Photo: Philip Ryalls 45 f
Martin Morales Eric Soul
Photo: George DuBose
of music in an all-night Brussels club, Eric Leeds, Martin soon went from presenting impressive compilation albums. So what’s
was invited to DJ over in Rwanda. “That university radio to playing Latin sounds at the secret of their success? “There’s no
was where everything clicked together. I local clubs. Even at this early stage he plan, that would take all the fun out of it.
had a spiritual wake-up call.” A few wanted to reach out. “It’s not about teach- The whole idea is that it’s a free-flowing
months later he moved to London and ing the already converted, it’s about bring- musical journey around the world.” Russ is
landed a gig at Brixton’s Bug Bar. “By ing in new people. Working in big dance keen to place FWF on the cooler end of
now I’d created my own style which I call clubs, I learnt how to entertain, but also the global beat club scene. “Whatever
‘Groov ‘n’ Bass’. It’s the whole spectrum educate by stealth. Just relating to normal you may think, the tag ‘world music’ is
of black music: past, present and people and finding those cultural sign- seen as negative and we want to do some-
beyond!” Since then he’s DJ’d everywhere posts that they can feel comfortable thing people can buy into without wear-
from underground clubs to celebrity par- with.” He emphasises the importance of ing sandals and woolly jumpers!” Sartorial
ties. “You must do it with your heart,” is using mood as a way of linking tracks. warnings aside, he advises me to keep my
his advice. “Be progressive, don’t try to “Celebratory moods for example can be feet on the ground. “Remember you’re
take them from one place to another too found everywhere, in foro, Balkan Gypsy not an artist, you’re an entertainer. If
abruptly. Choose tracks that go together. music, salsa and Brazilian batucada.” you’re really enjoying yourself then
It can be the sound, the tempo, the voice Martin currently hosts two regular there’s a good chance that the crowd are
or just an instrument that makes the con- club nights: the self-explanatory Futuro gonna be as well. But don’t play just to
nection.” And when all else fails, Eric rec- Flamenco, and Differente, where he and yourself and keep persevering. Sometimes
ommends anything by Senegalese rap- co-host John Armstrong play all kinds of it can take half an hour before you find
pers Positive Black Soul or Latin-house world and dance sounds to a Friday night the tune that sets the crowd off, but just
legends Masters At Work. West End crowd. So what’s his sure-fire stick with it until you get it!” Russ sug-
gests any of the first three tracks from the
I
n the late 1980s, it looked as floor-filling tune? “A good magician never
though the emerging dance music reveals his tricks,” he chuckles, “but, OK, Electric Gypsyland compilation as the per-
scene would be a window of oppor- there is one tune: Amigos by Wicked fect way to hit that floor-filling moment.
A
tunity for world music. Suddenly Lester always does the trick.” few nights later I meet Simon
lyrics weren’t important, it was Next up I get some advice from Russ Emmerson at the Afro Celts stu-
rhythm that counted and the rhythms of Jones who, along with Michael ‘Cliffy’ Clif- dio in North London. Simon’s DJ
the world appeared to be grabbing the ford, DJs as Future World Funk. Russ start- set at the fRoots 25th birthday
ears of the mainstream DJ fraternity who ed out on the early 1990s funk scene, then party was a recent inspiration for
were queuing up to say how much they discovered global sounds via Brazilian wanting to try my own hand on the decks.
loved ‘global beats’. In reality this often music, having helped to set up the special- “Oh that wasn’t DJing,” he explains, “that
amounted to little more than a passing ist Far Out label. It was while working was just playing CDs.” Eh?… I thought
acquaintance with Mory Kante’s Yeke there that he met Cliffy and in 1998 the that was what DJing was. But apparently,
Yeke and Coldcut’s Ofra Haza remix. pair started FWF, a regular world beat if you do it properly, there’s a lot more to
Dance music has become increasingly insu- night at the Notting Hill Arts Club. Neither it than that.
lar over the years with only a handful of claimed to be experts but, having roped in “Right,” says Simon matter-of-factly.
heroes keeping their ears sharp and their some dance music producers to remix tradi- “I’m going to teach you how to beat mix.”
minds open to the best beats from every- tional Brazilian tunes for Far Out, they He sets up his custom-built decks and my
where. Recently, however, global music were willing to explore similar work in mind boggles at the alarming array of but-
has started to infiltrate the mainstream, other tropical areas. “We play good dance tons and levers. Beat mixing, for the unini-
not in its own right, but as an insidious music from anywhere. Even five years back, tiated, is switching from one track to
influence – with Latin house, African-style dance sounds from outside of Western cul- another whilst staying on the beat and it
percussion samples, bhangra’s influence ture all sounded dated. But now the stuff appears to involve the use of every single
on hip-hop and the plundering of Arabic that’s coming through is really fresh and bit of scary-looking technology on show.
sounds by the likes of Missy Elliott. Nowa- really cool. The technology is easier and He presses, flicks and fiddles, explaining to
days everybody’s dancing to a little bit of cheaper to get hold of and everyone’s get- me what he’s doing as he goes along. I
world music without even knowing it. Eric ting exposed to the latest sounds via the concentrate hard and manage to take in
reckons that this was inevitable. “Hip-hop Internet. Dance music originally came from approximately none of it. “Now you have
and R&B have always dug into the 1960s’ the motherland, Western culture took it a go,” he says cheerily. Resisting the urge
and 70s’ funk/ soul catalogue. I’d hear the up, added something and it’s now going to run screaming into the cold Islington
same sound on and on and just think back to all these cultures where it originat- night, I give it a try and don’t do too badly
they’re gonna run out of inspiration, then ed anyway!” But surely there’s a danger as long as Simon tells me exactly what to
where they gonna go? They’re gonna go that this increase in technology will do at each step of the way. “Beat mixing’s
Latin, Arabic and to Africa.” squeeze out the individual character of fucking hard,” he concedes. “That’s why
Like Eric, Martin Morales came to the these regional sounds. And interestingly you get all those DJs nodding their heads.
UK from another country and his DJing is FWF are finding increasing room in their They’re not being trendy, they’re just try-
tied in with his identity. “Being from a bi- set for ancient highlife and African rhumba ing to pick up on the beat. You need to
cultural, bilingual background,” explains tunes. “You’ll get something that’s maybe work at it for a year or so before you really
the Anglo-Peruvian DJ, “I feel as though 40 years old but you can play it alongside get it.” I decide to give the beat mixing
I’m on a mission to tell the story of people modern dance music and it really works.” lark a miss for my DJ debut.
from other places through their music. They’ve spread the FWF message all “I was a crap DJ for years and years,”
Firstly it was my own Latin American cul- over the world, played at numerous festi- Simon confides. He started out in the 1980s
ture but I soon moved on.” Studying in vals (including Womad) and released four just down the road in Upper Street at the
3. 47 f
G
Club Sandino Nicaragua Solidarity Cam- play that anywhere from the dodgiest wed- erry Lyseight was one of the
paign benefit nights. Back in those early ding through to your hardcore goatee- founders of the legendary
days, Simon’s DJ heroes were Paul Murphy, beard-stroking world music crowd at Mambo Inn club night, another
who played Latin dance at the Electric Ball- Womad and it works every time.” early 90s’ world beat institution.
room in Camden and Dave Hucker. He reck- The following evening I go out to He’s subsequently been a DJ for
ons he only got good when he formed the hear Weird MC at the Spitz. Eric Soul is hire as well as presenting the much-
Afro Celts, which started life as a sound sys- the DJ and rather than just enjoying the missed Planet Mambo radio show. But it
tem with musicians playing over the top. music as I normally would, I find myself wasn’t until I spoke to him for this piece,
Through this he acquired some decks and thinking things like, ‘Aha, he used that that I realised how important he was to
began to work with beats and samples. Virginia Rodrigues tune as a bridge my own musical education. Back in the
Nowadays he fits in his DJ work around between the gnawa track that preceded early ‘80s, Gerry worked as a DJ for the
band commitments, usually managing a it and the latin hip-hop thing that fol- GLC, spinning all kinds of global grooves
couple of DJ gigs a month, either on his lowed. Very clever!’ I don’t nod my head at free festivals, benefit gigs and other
own or in the Outernationalists DJ duo he’s though (well not much anyway). community events, a few of which I
formed with writer Phil Meadley. What I need is an antidote to all this attended. Without knowing who he was,
“For world music clubs you can play technical talk, someone who takes an or even what he was playing most of the
anything,” he tells me. “You just have to enthusiastic amateur’s approach to club time, I tapped a foot and took it all in.
know your intros and outros. World DJing. Fortunately, Andy Kershaw is on the Later in the decade Gerry and Max Rein-
music DJs often think that they can plonk end of the phone. Andy was only invited hardt launched the Mambo Inn, initially
down their tunes in any old order, but to play in clubs after he became a radio with Latin music expert Sue Steward. “I
you soon learn that you can’t do that. It’s presenter. “My first gig was at the Univer- always saw our music policy as African
all about mood and vibe. It’s all about sity Of London,” he remembers. “I had to music no matter how many generations
telling a story.” At Club Sandino, music convince the people on the door that I removed,” recalls Gerry. “So that includes
journalists would occasionally do guest really was the DJ for the night before hip-hop, various forms of jazz, reggae,
spots on the decks. “They just couldn’t they’d let me in. Then I was shown into a soca and merengue. You don’t need to be
fucking DJ,” he recalls, laughing. “They room behind the stage and handed my a musicologist to point out the similarities
had no idea of how to programme a set rider: a Scotch egg and a bag of crisps. I between say soca and soukous or cumbia
or run tracks together.” Oh well, at least thought ‘Well, I’ve arrived now haven’t I!’” and ska.”
I’ll be a part of a tradition then. Gerry tells me to take special care when
Back in the early 1990s, Andy’s weekly
S
imon believes that club culture Crouch End By Night session in the base- choosing the moment to crank up the vol-
and the power of the groove ment of the King’s Head pub was a roots ume and tempo. “There’s a tipping point
have had a positive influence on music institution. A club night devoid of where people aren’t actually dancing, but
all areas of music making, pretension and crammed with great tunes they’re tapping their feet and loosening up.
although he’s aware that there of every musical persuasion. “The atmo- If you try and get them up before that
are drawbacks. “It’s generally lowest com- sphere was great. There were very rarely point and make the music too loud, it just
mon denominator music. When a track’s any wankers there.” It sadly came to a close pushes them out because it’s too aggres-
blaring out in a club, it’s the bass, the in ‘93 and since then he’s DJ’d whenever sive.” Gerry also emphasises the effect that
topline and the groove that count and it he’s been asked, most notably some recording quality can have on a DJ set. “The
can produce very flat, monotonal music packed-out nights at Club Womad. I won- idea is to keep up a flow as much as possi-
with every track sounding the same. A lot dered whether he paid any heed to tempos ble, and something that’s been well made
of DJ mixes sound awful when you play or beats. “Oh God no,” he groans. “It’s just recently is going to have a lot more oomph
them quietly.” about what feels right and I make it up as I to it than something which is old, or even
Simon emphasises the importance of go along. I’m the antithesis of the ‘Dance recent but poorly made.” This difference
having a good DJ name. His is ‘DJ Dad’. “My DJ’ with a capital D. They provide a seam- isn’t so noticeable when listening to music
wife once suggested to my teenage son less unchanging rhythm all night, where at home and it’s only when I have another
that he might like to go and hear me DJ. He the dancers barely notice when one record practice session on the decks at Darbucka
was like ‘Duh, no way mum! The worst has finished and another started. They’re that I hear what he means. An old ska tune
thing in the world is to go and see DJ Dad!’ as unimaginative as their audience! – sounds positively tinny when played after a
So we started thinking up the most embar- whereas what I do is surprise the crowd, smartly produced track by current
rassing things I could say if he was in the give them variety. As with so many things favourites Charanga Cakewalk. Gerry has
crowd, like ‘DJ Dad in the area, make some in life, my maxim is ‘Break the rules!’ Don’t one more very important piece of advice.
noise!… but only after you’ve done your listen to people telling you to analyse how “Don’t get too pissed or stoned, which is
homework’; and ‘I want you all to go men- many beats per second, sod that, just give quite easy to do when you’re feeling ner-
tal!… but I don’t want to come down in the ‘em tunes that will make them go, ‘Wow, vous.” To fill the floor he recommends just
morning and find the place in a mess’.” what the hell is this?’” Not surprisingly, about any version of O Mo Como Va, espe-
Given my uncoordinated efforts on the Andy has a few sure-fire floor-fillers to rec- cially 3 Canal’s rapso reading.
decks so far, I decide to call myself ‘DJ AFAT’ ommend: the Jambo Sana remix of Salif Back at Darbucka, I get a lesson on the
(All Fingers And Thumbs). Simon’s choice Keita’s Africa, The Clash’s version of Pres- decks from the other two corners in the
for guaranteed floor-filler is the Hard Floor sure Drop and Junior Murvin’s 70s’ reggae Mambo Inn triangle. Max Reinhardt and
Remix of Mory Kante’s Yeke Yeke. “You can classic Roots Train among them. Rita Ray regularly run DJ workshops and
Photo: Cathia Randrianarivo
Photo: Philip Ryalls
Photo: Philip Ryalls
Charlie Gillett Rita Ray Simon Emmerson Dave Hucker
4. 49 f
T
that experience shows. They home in on hen, suddenly, the night of my
the little that I can do and concentrate on debut DJ session is upon me. I’ve
developing it. Both Max and Rita started decided to call it Chilli Fried,
out playing in bands and came to the decks quite a good name I think. Grant-
late in life. Max got the bug through hiring ed it doesn’t really describe what
discos for his children’s parties. At first he people are going to get, but then Some
just played the wedding circuit but soon Bloke Who Doesn’t Know What He’s Doing
gravitated towards black music in general Playing CDs All Night isn’t really a good
and then African and salsa in particular. name for a club night. I use the train ride
Photo: Jak Kilby
Rita started her DJ career at the Mambo into town to go over the collected wisdom
Inn. “I originally only came down because I that the DJ experts have imparted: DJing is
heard they had a 12-inch version of Prince’s a journey that tells a story, it’s about
Kiss which I didn’t own!” she laughs. matching tunes by beat, mood or style or
Post-Mambo, they spread out over a it’s about surprising people. Play for your-
variety of nights including the free-for-all self and for the crowd, but don’t try and
Space Race session where they started read the crowd, although it’s good to sec-
inviting musicians to play over the beats. ond-guess what they might want and Andy Kershaw (right) & Verity Sharp
never, ever leave home without a copy of
This led to their Shrine Synchro System
Mory Kante’s Yeke Yeke! (Unless you own
project. The Shrine night is a celebration
a copy of Kataki’s Hula Hoop Jive that is.)
of the music of Fela Kuti and all other Afro
Funkateers, it’s currently their main regu- The club starts to fill up while I play
lar gig and it’s here that their Synchro Sys- my warm-up set. Friends, DJs and fRoots
tem lays down beats which interact with people are amongst those happily chat-
an ever changing cast of singers, Afro-rap- ting and munching on meze as I ease up
pers, jazz players and the like. the volume. When I start my dance set,
people are tapping their feet, moving in
“Everyone’s a DJ in their head,” their seats and clearly enjoying the music,
explains Max. “Everyone’s got their but nobody’s hitting the dancefloor. I play
favourite music, so one of the things that a funky Afro-reggae groover by London-
you have to do in a club is field the based singer Ammy Coco and some people
dancefloor rowdies. Whatever anyone start to move. A North African selection
comes up and asks for, just tell them gets some more on the floor and my salsa/
that’s what you’re playing. That usually Latin mix really has them shaking it.
works. Even if they ask for Kylie and Choosing the right music to inspire com-
you’re playing an Afrobeat instrumental, plete strangers to dance is a highly addic-
just tell them ‘This is Kylie!’ and they’ll tive activity. I wouldn’t claim to have mas-
probably leave you alone.” tered it yet but I’m certainly getting there,
“Don’t get too uptight,” advises Rita. and at the end of the night some of the
“The best times are when I’ve taken dancers want to know when I’m playing
myself on a journey and I haven’t known next, so they can come down. Gerry Lyseight
what I was going to play next.” Their Did the (sometimes conflicting) advice
sure-fire floor-fillers have a distinctly I received from the DJs I consulted help?
Jamaican flavour: Max goes for Barington Yes, definitely. I took something from each
Levy’s Under Mi Sensi, whereas Rita reck- of them and they all contributed to the
ons that Broadway Jungle by Toots & The way that I presented my set. But I think the
Maytals is the one to rock the crowd. best advice I received came when I
Like Andy Kershaw, Charlie Gillett is dropped by Darbucka after work one
known primarily as a radio DJ, but also like evening to have a sneaky practice on the
Andy K he’s a formidable, if only occasional, decks. It was early and there was just me
club DJ too. I’ve mainly caught Charlie’s sets and the barman there. “I was a drum ‘n’
when he’s provided the music before live bass DJ for 10 years,” he told me as I set
bands. A job he likens to that of the come- up, “and I think you need to relax. I see
dian at a strip club. (“You’re really not what people giving you lessons here and you
the audience are waiting for.”) Charlie’s always seem stressed. Take it easy! Don’t
long career in music has been well-chroni- be afraid of the technology, it’s the music
cled in fRoots so we can skip straight to the that matters. Enjoy yourself!” I did enjoy
advice. “Regardless of how adventurous myself, so much so that Chilli Fried is going
you intend to be, you need to have certain to be a regular night. Come down, I’ll do
safe records that you’re convinced you and my best to make you dance and I’ll even
the audience share as an experience,” he know what to say if you ask for Kylie.
tells me, “because they’ll feel more com- Dave Hucker: www.technobeat.com
fortable dancing to a record that they’ve Eric Soul: www.ericsoul-dj.com
heard and ideally even danced to before.” M. Morales: martin@morales-music.com Future World Funk’s Russ & Cliffy
Mongo Santamaria’s version of Watermel-
on Man and Arrow’s Hot Hot Hot are Russ Jones: www.futureworldfunk.com
favoured Gillett standbys. Then there are Simon Emmerson: www.afrocelts.com
the tunes that the audience may not know G. Lyseight: gerry@mambo.eclipse.co.uk
but are bound to dance to anyway: Bally Max & Rita: www.theshrine.uk.com
Sagoo’s remix of Nusrat Fateh Ali Khan’s C. Gillett: www.thesoundoftheworld.com
Kenna Sohna is a prime example of this.
Darbucka: www.darbucka.com
“Then there are the things that peo-
ple ask you to play which they could rea- DJ AFAT’s Chilli Fried Five
sonably expect you to have. They want to 1. Ammy Coco Akoua
make you feel comfortable and when 2. Sainkho Ohm Suhaa (Martin Morales
they realise your frame of reference, they Remix)
come up to you with the artists that they 3. Asere A Favor del Viento
can think of in your territory, which is
very often Manu Chao and definitely 4. Amr Diab Habibi (Remix)
5. Bucovino Club vs Taraf de Haïdouks
Photo: Jak Kilby
Buena Vista Social Club. It’s very embar-
rassing if you haven’t got the record, Carolina
when you can see they’ve moved halfway The next Chilli Fried session is on Thursday
to where you are. You don’t want people 13 January 2005 at Darbucka, 182 St John
to feel that you’re a person from outer Street, London EC1V 4JZ, with live music
space or that you think that they are!” from Troia Nova. F
Max Reinhardt