aggiunto album di foto game over zine. foto tratte da Barcelona Game Over Magazine # 4  1993 giugno. Un ringraziamento a Wave che mi ha dato la possibilita' di scansionare la rivista. xxx

Snoop Dogg. foto di A.Serrano

dalla pagina http://www.geocities.com/snoyd2001/hip-hop_disc.html

H I P – H O P
u n a   d i s c o g r a f i a   e s s e n z i a l e
compilata da thx

1) da MCz:

ice t – the iceberg. freedom of speach: just watch what you say! (sire, 1989)
ice t – power (sire, 1988)
public enemy – yo bum rush the show (def jam, 1987)
public enemy – it takes a nation of millions to hold us back (def jam, 1988)
public enemy – fear of a black planet (def jam, 1990)
public enemy – apocalypse 91 _ the enemy strikes black (def jam, 1991)
terminator x – terminatorx & the valley of the jeep beets (def jam, 1991)
chuck d – autobiography of mistachuck (mercury, 1996)
professor griff and the last asiatic disciples – pawns in the game (skywalker, 1990)
n w a – straight outta compton (ruthless, 1988)
afrika bambaataa – the light (emi, 1988)
afrika bambaataa – planet rock _ the album (tommy boy, 1986)
afrika bambaataa – death mix (tommy boy, 1983)
afrika bambaataa – an electro-funk breakdown mix (dmc, 1999)
grandmaster flash & the furious five – the message (sugar hill, 1982)
beastie boys – paul’s boutique (def jam, 1989)
beastie boys – licenced to ill (def jam, 1986)
beastie boys – ill communications (grand royal/capitol, 1994)
beastie boys – hello nasty (grand royal/capitol, 1998)
kurtis blow – kingdom blow (mercury, 1986)
herbie hancock & grand mixer d.st – rockit (columbia, 1983)
boogie down productions – criminal minded (b boy, 1987)
boogie down productions – the return of the boom bap (jive, 1993)
cypress hill – cypress hill (ruffhouse/columbia, 1991)
cypress hill – cypress hill III [temples of boom] (ruffhouse/columbia, 1995)
cypress hill – cypress hill IV (ruffhouse/columbia, 1998)
de la soul – 3 feet high and rising (tommy boy, 1989)
de la soul – art official intelligence: mosaic thump (tommy boy, 2000)
run dmc – raising hell (london, 1986)
run dmc – tougher than leather (london, 1988)
the rza – ghost dog _ the way of the samurai _ the album (epic/razorsharp/sony, 2000)
the rza – big cap . wu-tang mix (wu international, 2000)
wu-tang clan – enter the wu-tang _ 36 chambers (bmg/rca, 1993)
cannibal ox – the cold vein (def jux, 2001)
el p presents: cannibal oxtrumentals (def jux, 2001)
beans – tomorrow right now (warp, 2003)
ice cube – amerikkka’s most wanted (priority, 1990)
jeru the damaja – the sun rises in the east (payday, 1994)
company flow – funcrusher plus (official/rawkus, 1997)
dr. dre – the chronic (death row/interscope,1992)
dr. dre – 2001 (aftermath/interscope, 1999)
material – intonarumori (axiom, 1999)
queen latifah – all hail the queen (tommy boy 1989)
rammellzee – beat bop (profile, 1983)
paris – the devil made me do it (tommy boy, 1990)
paris – sleeping with the enemy (tommy boy, 1992)
schoolly d – saturday night _ the album (1987)
schoolly d – am i black enough for you (1989)
nas – illmatic (columbia, 1994)
mf doom – mm food (stones throw, 2003)
slinky gym school featuring the ramm:ell:zee – crazy sneaker (wea, 1984)
public enemy feat. paris – rebirth of a nation (guerrilla funk, 2006)

2) da breakz:

da toolz:

the turntablist – super duck breaks…. the saga begins (stones throw, 1996)
butchwax – horny martian breaks (dirtstyle, 2001)
ricci rucker – utility phonograph record 3 (Sound In Color, 2005)
dj yutaka – batou breaks (813 production, 2005)
grandmaster roc raida – hater breaks 3 (adiar cor, 2005)
dj spinna – compositions 3 (female fun, 2005)
metal fingers presents: special herbs vol. 9+0 (fat beats, 2005)
yogafrog – warflex level 1: warped stage (thud rumble, 2001)
yogafrog – warflex level 2: cyclone stage (thud rumble, 2003) 
aa vv – hip hop accappellas (old school hip-hop,  2004)
jdilla – donuts (stones throw, 2006) 
pr & cl smooth – instrumentals (main ingredient, 2004)
ol’ dirty bastard – return to the 36 chambers. intrumentals (elektra, 1995)
jeru the damaja – divine design. instrumentals (ashenafi, 2004)
dr. dre – 2001. instrumentals (interscope, 1999)
mumbles – book of human beats (sound in color, 2005)
pete rock – the surviving elements. instrumentals (bbe, 2005)
dj qbert – breaktionary v. 3 (thud rumble, 2006)
chops – gangsta breaks (brick, 2005)
madlib – beat konducta vol. 1, 2, 3 (stones throw, 2005)
dj honda – battle breaks v. 7 (?)
dj honda – battle breaks v. 10 (?)
peabird – non stop nude breaks (breakzrus, 2002)
dj rectangle (twist-n-tangle, 2002)
rob swift – swift breaks (tableturns, 2004)
dj qbert – needle trashers v. 1 (thud rumble, 2002)
skratchy seal – cop porn breaxxx (dirtstyle, 2001)
dj qbert – needle trashers alpha (thud rumble, 2004)
dj qbert – needle trashers beta (thud rumble, 2004)
mr. henshaw – needle trashers gamma (thud rumble, 2005)
mr. henshaw – needle trashers delta (thud rumble, 2005)
darth fader – bionic booger breaks (dirtstyle, 1993)
psychedelic skratch bastards – battle breaks (dirtstyle, 1992)
skratchy seal – sealed breaks (dirtstyle, 2000)
butchwax – butt ugly breaks (dirtstyle, 2001)
darth fader – deluxe shampoo edition (dirtstyle, 2001)
wax fondler – gag ball breaks (funk shit up, 2000)
wax fondler – black market snuff breaks (funk shit up, 2002)
wax fondler – bitch slapped breaks (funk shit up, 2002)
wax fondler – heavy petting breaks (funk shit up, 2001)
darth fader – 100 mph backsliding turkey kuts (dirtstyle, 1998)
darth fader – toasted marshmello feet brayx (dirtstyle, 1996)
skratchy seal – superseal (aka two thousand) (dirtstyle, 2000)
skratchy seal – gag-seal breaks (dirtstyle, 2000)
dj qbert – needle trashers – v. 2 (dirtstyle, 2002)
mix master mike – needle trashers III (dirtstyle, 1997)
dj qbert – needle trashers v. 4 (dirtstyle, 2003)
wax fondler – sqratch fetishes of the third kind (funk shit up, 2002)
dj qbert – unknown dirtstyle part 1 (dirtstyle, 2003)
roc raida – double time breaks (adiar cor, 2006)
dj qbert – breaktionary v. 2 (thud rumble, 2006)
dj qbert – breaktionary v. 4 (thud rumble, 2006)
mathematics – soul of a man (nature sounds, 2006)
grandmaster roc raida – the horse breaks (adiar cor, 2004)
a-trak aka the #1 spinna – monkeyboy breaks (adiar cor, 2004)
skratchy seal – training wheels (dirtstyle, 2006)
metal fingers – special herbs v.1 & 2 (high times, 2004)
dj balli – otoscratch (belligeranza, 2006)
dj swamp – the never ending breaks (decadent, 2004)
dj swamp – the never ending breaks v. 2 (decadent, 2005)
dj qbert – secret of the "y" formula (thud rumble, 2001)

da funk: 

santana & buddy miles! live! (columbia, 1972)
aa vv – p&p funk. a collection of classics (teg, 2005)
boogie down pruductions – the breaks. 2nd edition (bronx river, 2005)
sound dimension – jamaica soul shake (suol jazz, 2006)
aa vv – nothing but funk (funky people, 2006)
bruce lee – the way of the dragon (tam, 1973)
roy ayers – virgin ubiquity II (bbe, 2005)
herbie hancock – touched by the hands of herbie hancock (thb, 2004)
johnny pate – bucktown (air, 1975)
aa vv – new york noise. New york underground ’78-’82 (soul jazz, 2003)
aa vv – jazzy jeff in the house (defected, 2004)
the j.b.’s – doing it to death (people, 1973)
fred & the new j.b.’s – breakin’ bread (people, 1974)
aa vv – ultimate breaks & beats (sbr 522) (street beat, 1989)
aa vv – ultimate breaks & beats (sbr 514) (street beat, 1988)
aa vv – ultimate breaks & beats (sbr 512) (street beat, 1988)
aa vv – ultimate breaks & beats (sbr 520) (street beat, 1989)
aa vv – ultimate breaks & beats (sbr 518) (street beat, 1989)
chris stein & fab 5 freddy – wild style instrumental beats (beyongolia, 1998)
aa vv – tribe vibes (strictly break, 2004)
aa vv – the 2pac collection (strictly break, 2005)
aa vv – the beastie collection (strictly break, 2005)
led zeppelin – IV (atlantic, 1971)
both worlds – don’tcha hide it (tpi, 1974)
jazz crusaders – lighthouse ’68 (pacific jazz, 1968)
jazz crusaders – old socks new shoes. new socks old shoes (chisa, 1970)
donald byrd – blackbyrd (blue note, 1973)
sly and the family stone – dance to the music (epic, 1968)
funkadelic – america eats its young (westbound, 1972)
parliament – funkentelechy vs. the placebo syndrome (casablanca, 1977)
george clinton – the george clinton band arrives (abc, 1974)
berry white – can’t get enough (20th century, 1974)
eric burdon & war – eric burdon declares war (polydor, 1970)
james brown – sho is funky down here (polydor, 1972)
james brown – there it is (polydor, 1972)
funkadelic – one nation under the groove (warner, 1978)
the j.b.’s – food for thought (polydor, 1972)                    
lightnin’ rod – hustlers convention (celluloid, 1973)
james brown – super bad (polydor, 1971)
parliament – the clones of dr. funkenstein (casablanca, 1976)
buddy miles – bicentennial gathering of the tribes (casablanca, 1976)
aa vv – 16 motown chartbusters (motown, 1974)
war – deliver the word (united artists, 1973)
roy ayers – coffy (polydor, 1973)
aa vv – hip hop essentials: movie fx v. 2 "baaad assss breaks!" (yosumi, 2006)

 

hh linkz:

http://www.publicenemy.com/ 

http://www.guerrillafunk.com/ 

http://www.icet.com/ 

http://www.daveyd.com/raptitle.html 

http://www.ohhla.com/ 

http://www.battlesounds.com/home.html 

http://www.wutangcorp.com/ 

http://www.dre2001.com/ 

Donald D giudice di gara in una B-boy battle (sul palco, seduto di fronte al dj) 
Rifredi City (Firenze) – foto: THX (2001)

C.U.

;c)

xxx 

Manolo Project image 1

dalla chat "Underground Hiphop" del soulseek network: 

* Entered room Underground Hiphop
[thx] yo
[jesus-saurus rex.] ya gay asian zombie with a curl from Micheal Jacksons Thriller deleted scenes
[Menju] lkjlk
[thx] how you doin'?
[FourthFace] not bad you?
[thx] good
[FourthFace] cool cool
[FourthFace] oh, word.???
[FourthFace] hmm…
[FourthFace] interesting.
[FourthFace] great!
[thx] last week i see the stone throw party in pisa (italy)
[thx] real kool
[thx] there was percee-p, aloe blacc, j. rocc, peanut butter & guilty simpson
[SageTheTheif] smoke dank
[thx] very powerful show
[SageTheTheif] anyone have apathy?
[thx] j. rocc is a m.f. robot!!!
[SageTheTheif] i hate robots
[SageTheTheif] humans are the shit
[thx] in a good sense of the word
[thx] …
[thx] 🙂
[SageTheTheif] humans are the superior being
* Disconnected
* Entered room Underground Hiphop
[ICE-o-lator] im searchin for d&d allstars – pass it 1,2 (premier rmx)
[ICE-o-lator] does anybody know on which album it is?
[6yxou] who likes galapagos4?
[Brians] /me
[6yxou] i`m fan))
[6yxou] its very difficult to find the stuff in Russia(
[6yxou] soulseek – best way
[Brians] what stuff …..brians
[6yxou] there is no releases in our music markets
[WINS] hip hop
[thirdstrykfelony] so who here likes ay bay bay * Disconnected
* Entered room Underground Hiphop
* (8(l) (¨¨¨`°¤©)(Ñõw-Plåý¡ñg)(©¤°`¨¨`°¤©)(RZA – Domestic Violence)(©¤°`¨¨¨) (l)8) *
[Brians]  (8(l) <–brian
* (8(l) (¨¨¨`°¤©)(Ñõw-Plåý¡ñg)(©¤°`¨¨`°¤©)(Slayer – Criminally Insane)(©¤°`¨¨¨) (l)8) *
[j_enemy] yo does anybody have ratatat remixes vol 2"?
[ICE-o-lator] who got an album of dog eat dog?
* ICE-o-lator np: 06-dog_eat_dog-step_right_in_(album_version)-lcn
[j_enemy] ratatat remixes vol 2 anyone?
[j_enemy] this room is dead…
[6yxou] and what is not dead?
[Brians] brian
[6yxou] rly?
[Brians] brian always pushin
[6yxou] pizdec
[6yxou] ueban
[Brians] who brian?
[6yxou] ueban
[6yxou] da vi vse tut uebani,huli..
[Brians] ask parents before to perform
[6yxou] i dont have parents man
[6yxou] dead
[Brians] them in hell?
[Brians] or heaven the how do you call it?
[6yxou] they are dead,you understand?
[Brians] brian can not
[Brians] <–great dark hole in the head
[Brians] but feel sorry for you if allowed
* Disconnected

dal sito della casa editrice a-change sezione Blaxploitation http://www.a-change.com/blax.html:

DA FOXY BROWN A JACKIE BROWN
Intervista con Pam Grier. L’icona femminile dei settanta torna a reclamare il suo trono
Di Veronica Mixon
Traduzione Salvatore Castellana

Oggi senti il successo in maniera diversa rispetto a vent’anni fa?
Veramente non ci penso. Mi diverte tutto questo interessamento nei miei confronti. Trovo un buon film ogni quattro anni, e lo chiamano un ritorno. È un complimento. Come per dire, stai tornando, significa che in passato eri grande. L’accetto volentieri.

Il personaggio di Jackie Brown rappresenta un ritorno agli anni settanta?
Non so se sia un ritorno o solo un estensione di quegli anni. Lei è matura, saggia e lavora duro. Lei è una parte di me. Nella vita ci sono ostacoli da superare.  Ho permesso ad alcuni di entrare nella mia vita, dirigerla e hanno fallito quando avrei dovuto farlo da sola. Ora ho il pieno controllo della mia vita.

Come è stato quando Quentin ha detto: “Sto preparando questo film e voglio te nel progetto”?
Due anni fa l’ho incontrato al Pan-African Film Festival e mi disse “Ho qualcosa per te”. Pensai che Quentin fosse molto carino. Molti registi, un’intera lista, ha scritto cose per me. Ma poi si sono sposati o hanno fatto un film per Kevin Costner o qualcosa di meglio e così via. Non volevo rimanere delusa così lo ringraziai per aver pensato a me. È un complimento quando qualcuno dice che il tuo lavoro gli interessa.

Ma poi ti ha chiamato.
L’ho rivisto alla Science Fiction Hall of Fame Awards in onore di John Carpenter, dove mi parlò della sceneggiatura. Gli dissi “Ok Quentin ma prima che io perda tutti i denti e che mi si affloscino le tette!”. Sei mesi dopo, mi telefonò. Prima mi chiese “Perché non mi hai chiamato?” e poi “Ti sto spedendo qualcosa!”. Pensavo che arrivasse con la FedEx, invece c’impiegò una settimana ad arrivare e dovetti pagare anche la tariffa postale!

Sembra proprio che sia valsa la pena di aspettare e di aver dovuto pagare la tariffa postale!
Jackie Brown è basato su un libro di Elmore Leonard, uno degli scrittori più prolifici di tutti i tempi. Puoi sentirli vivere i suoi personaggi. Molti aspirano a scrivere come lui. Stavo leggendo questa roba e pensavo: Wow ma è lo stile di Quentin ed è per me!

Cosa ti disse quando lo hai richiamato?
Non l’ho richiamato subito. Ho riflettuto. Forse era per qualcun altro, e io ero solo la seconda o terza scelta, o non si sarebbe fatto. Kevin mi disse “E’ meglio che lo chiami prima che prenda qualcun altro”. Lo chiamai e mi disse “Sei tu Jackie Brown!”

Hai mandato il tuo agente a sistemare la cosa?
No.

Perché no?
Quello era un regalo che mi avevano fatto. Ho solo detto a Quentin “Ti guarderò le spalle se tu guarderai le mie, non lasciarmi cadere.” Il fatto che avrei lavorato per Quentin Tarantino non mi dava la possibilità di trattare un grande compenso. E con che coraggio potrei mettere il mio nome su quelli di Samuel L. Jackson, Robert De Niro e Michael Keaton?

Ma il tuo nome appare per primo…
Di certo non pensavo: “ Il tuo nome sarà sopra quello di tutti!” Dovevo lavorare e dovevo avere fiducia perché Quentin ne aveva in me. Ha impiegato due anni della sua vita scrivendo per me, così era meglio essere pronta a partire.

Quanto ti ha cambiato la vita Jackie Brown?
Bene non so precisamente quanto mi abbia cambiato la vita, certo è che mi sono arrivate moltissime sceneggiature da registi meravigliosi.

Spike Lee ha criticato Tarantino perché i suoi personaggi usano la parola Nigger. Cosa ne pensi di un progetto in cui questa parola viene pronunciata così spesso?
Se vai a Compton,  Baldwin Hills o Harlem, cosa sentirai? Sentirai la realtà. In aree indigene sentirai quella parola come fosse un appellativo affettuoso.

Perché va bene usarla in un contesto e non in altri?
Nigger è un termine che qualcuno dà a qualcun altro per sminuirlo, usarlo è un atteggiamento,  una mancanza d’educazione.Oggi significa diverse cose. Tutto dipende da con chi stai parlando. Voglio dire abbiamo Ang Lee che fa un film bianco, ma non tenta di ostacolare i suoi colleghi nell’essere loro stessi, ed è Asiatico. Questo è il motivo per cui Quentin dovrebbe essere in grado di fare un film Black. Steven Spielberg fa film Black. Come esseri umani dobbiamo avere questo dono: comprendere la nostra condizione umana. Questo è ciò che riguarda un regista. Chi siamo noi per privare la gente della loro realtà?

Parlando di realtà, qual’era quella di Coffy?
Volevano farmi vivere ed essere al massimo. Mi dissero “Dovresti vestire come il personaggio” e io rifiutai. Mi dissero “ il tuo pubblico ne rimarrà deluso” e io dissi “Sono più furbi di quel che sembrano!”.

Credo che il rifiutare la strada più facile, il non lasciarsi guidare dalle regole,avrebbe potuto costarti in fama e fortuna…
Non sono entrata nel mondo del cinema per diventare famosa o per fare un mucchio di soldi. Gli attori non lo fanno. Ho solo interpretato il lavoro. Sapevo che bisogna essere molto umili quando sei un attore. Ci sono cose che non farai, che non sarai e che non otterrai.

Hai preso parte a film in piccoli ruoli in questi anni. Ti hanno mai offerto grandi ruoli?
Non trovo molto lavoro perché sono più alta della maggior parte dei protagonisti maschili. Il meraviglioso Ruben Cannon mi chiamò e disse: “Ti voglio ad un’audizione per What’s Love Got to Do With It!”. Tina Turner? Lei è alta un metro e cinquanta!! Fantastico, ma non so se mi conviene prepararmi per una settimana in un ruolo che non otterrò dato che chiunque interpreterà Ike dovrà spaccarsi la schiena cercando di acchiapparmi per tutta la stanza!

Cosa hai fatto durante i tempi duri?
Ho affittato una stanzetta ai vecchi studios di Francis Coppola per lavorare sulle mie capacità come scrittrice. Volevo raffinare il mio stile nel campo della sceneggiatura e del teatro dato che lì le dinamiche sono differenti.

Com’è stato fare teatro dopo tutti quei film?
Quando ho partecipato a Fool for Love,  una messa in scena di novanta minuti senza interruzioni,  era la mia prima volta ed è stato un vero test. O sei un attore, o te ne vai. Ho capito che io potevo farlo.

Qual è stato il ruolo più estremo che hai interpretato sul palcoscenico?
Sono ingrassata di 46 kg per interpretare Terrence McNally in Frankie and Johnnie.

Quarantasei chili!!
Si. È stata la storia d’amore più bella. Mi dissi “Anche se rischio di non lavorare mai più, voglio questo ruolo!”

Ti hanno consigliato di non farlo?
Si l’hanno fatto. Dicevano “Non sarai più attraente. Al pubblico non piace la gente grassa e sarai ostracizzata/emarginata.” E lo ero. Tipi con cui uscivo non volevano più saperne di uscire con me. Registi facevano stupide battute sul peso. La gente per strada era crudele. A volte mi capitava di ritornare in teatro piangendo, meravigliandomi di quanto la gente potesse essere così insensibile.

Però sembra che ti sia ripresa molto bene dai quei giorni dei pesi massimi. Chi della tua famiglia è responsabile per i tuoi incredibili geni?
Credo mia mamma. Ma anche un po’ di magia nera. Nel Sud c’è un culto Nativo-Afroamericano dove cantano e ti sfregano olii e foglie addosso e ti asciugano la faccia con il tuo pannolino. L’ammoniaca che ci mettono è l’astringente. Usano anche quella roba perché molte donne della mia famiglia credono in questi riti, così come gli uomini che hanno i loro particolari rituali. Amo la cultura della mia gente. Ma può anche essere che mi piace sporcarmi.

Niente chirurgia?
Niente chirurgia! Tengo semplicemente la mia pelle pulita. Potrebbe essere la mia dieta. Medito e mi faccio intrugli d’erbe cinesi. Vado spesso a Chinatown per procurarmi casse di Ginseng e erbe cinesi per le donne. Credo nelle teorie cinesi dell’auto medicazione.

---

Willie Hutch "out there" – Foxy brown soundtrack

http://www.youtube.com/watch?v=OS66Fg8Wvc4

 

 

 

 

 

 

xxx

Wave (2006?) 

Kate / Marta (2004)

Wave (2005? 2006?) 

Wave / THX (2004)

Elettro-tags 

Elettro-murales 

THX (2004) 

THX (2004)

THX (2004) 

THX / Wave (2004)

THX (2004) 

foto da http://naturalsoundsystem.free.fr/checklist/index.php?d=072005 

Dalla pagina http://www.ilikemusic.com/make_music/History_Of_Turntablism-301 

The DJ and the noble craft of turntablism has grown from its humble
beginnings as recorded music sent over the airwaves for the first time
in 1906 to the emergence of the Superstar DJ, a multi-facted producer,
musician and businessman. Such DJs can now command thousands of pounds
per night, with annual spending in UK clubs alone at £1.7 billion.

"The DJ is an improvisational artist who has the world of recorded
sounds as his palette and the musical pleasure of a bunch of clubbers
as his canvas," say Bill Brewster and Frank Broughton, authors of Last
Night a DJ Saved My Life.

Technically a DJ's job is pretty demanding. You need a certain
level of skill to mix a series of records to create a flowing and
effective performance. DJs need to know how each track is structured
and must have a good ear and precise rhythm, to be able to tell if two
tracks are in tune and to merge the two seamlessly (or scratch up the
beats in an equally seamless manner).

Additionally, a basic knowledge of sound production/reproduction
and sound systems helps a DJ to get the most from volume, tone and
digital controls. And to really work the system and strengthen the
dynamics of a track/set, DJs fine-tune tone and tempo, use crossovers
between the treble, midrange, bass and sub-bass, and play around with
digital tools such as delay and reverb. It's not as easy as it looks.
Pure turntablist masters, ie scratch masters like Craze, Tony Vegas,
Prime Cuts and Plus One, may think that beat mixing is easy (mixing two
tracks into an ongoing sequence), but there's still a lot involved.
Evidently though it's a DJ's pure love of music and knowledge of what
tracks will get a crowd rocking, plus a good communication channel with
that crowd, that are his/her most required talents.

So how did this noble form of expression all begin?

The DJ throughout time, has been responsible for creating a tide of
interest in each new form, from rock n roll and disco to reggae, dance
music and hip hop.

Nearly a century ago the first record was played over the airwaves
and, with the help of youth culture, new musical forms, and the
advances in technology, the DJ has shaped the music of each time and
brought the masses what they want to hear. Here's a quick look at the
timeline of Turntablism.

1955 Turntable, custom-built by Edward P Casey of the Bronx, New York

:: History of Turntablism Timeline ::

1850s French Researchers develop the phonoautograph that records sound waves on a rotating cylinder.

1870s Thomas Edison develops a tinfoil phonograph or speaking
machine. He recited "Mary Had a Little Lamb" into the mouthpiece to
test the machine for the first time.

1877 Edison invents the first hand-cranked phonograph.

1887 Alexander Graham Bell unveils his graphophone that included a
floating stylus for clearer sound and used wax cylinders. Edison
replaces the original hand crank with a battery-driven motor and solid
wax cylinder.

1890 Musicians begin recording their music. The phonograph
cylinders could record 2-4 minutes of audio. Musicians set up recording
sessions with several phonographs recording simultaneously.

1892 Flat recording gramophone discs are invented.

1895 Edison begins mass production of the phonograph and amplifies the sound by adding a horn.

1906 THE FIRST EVER RADIO DJ: American Engineer, Reginald A Fessenden, was the first person to play a record over the airwaves.

1925 The microphone was invented, resulting in the redesign of reproduction equipment.

1931 EMI researcher Alan Dower Blumlein invents stereophonic sound for recording.

1939 Invention of the magnetic tape.

1940s DJs entertain troops overseas.

1950s The 45 RPM 7 inch record is invented.

1960s Modern electronics come to the fore within the sound and
music sectors, with the first Synthesizer created by Robert Moog. Dub
music and remixes emerge, pioneered by King Tubby. Reggae music gets
increasingly popular and the emergence of remix and rap music begins
toward the end of the 1960s.

Late 60s Osbourne Ruddock (King Tubby), Lee "Scratch" Perry and
Edward "Bunny" Lee set up and manage multi-track studios and become
major reggae producers.

1969 The first hip-hop DJ, Kool Herc, develops cutting breaks. Kook
Herc rapped over popular songs and extended short breaks by using two
identical records and looping the required segments using an audio
mixer.

Technics Direct Drive System SP-10 was released

Early 70s Technics introduce the original SL-1200 as a hi-fi turntable.

1971 The first electronic band, Kraftwerk, are formed.

1975 The scratch is discovered by Grand Wizard Theodore.

1980s DJ Frankie Knuckles mixes 4/4 beats generated by a drum machine on top of soul and disco tunes at The Warehouse.

1980 Marshall Jefferson releases 'Move Your Body' and house music
is in full swing with 12" disco records with long percussion breaks
coming to the fore and creating House.

Grandmaster Flash creates the "breakbeat".

1980 Roland introduces the TB-303 bassline machine and the TR-808 drum machine.

1981 "The Adventures of Grandmaster Flash on the Wheels of Steel"
is the first release to include hip-hop DJ skills, with "The Message",
(the first rap record) by Grandmaster Flash and The Furious Five
becoming a massive hit one year later.

1982 Afrika Bambaata creates electro by sampling Kraftwerk on "Planet Rock".

mid 80s Samplers become affordable to the masses allowing musicians to capture and manipulate sounds.

New York Hip Hop DJS start using 'spinback' with the Technics 1200
to cut back and forth between two tracks to extend breaks and scratch.

1987 The DMC (Disco Mix Club) holds its first annual DJ Competition

1989 The rave scene is born from Acid House, with warehouse and
field parties and raves taking place round the M25 in the UK, arranged
via a secret network of pirate radio messages and flyer distribution.

90s Drum 'n Bass and Trip Hop emerge as evolving forms of breakbeat.

1990 – The first all turntable scratch band, "Shadow of the Prophet" form (Mix Master Mike and DJ Apollo).

1992 "Battlebreaks" was released, the first record of its kind.

1992 "In/Flux" is released by DJ Shadow who leans more towards sampling.

1996 The first ITF (International Turntablist Federation) champioinship competition takes place.

1998 Scratching is brought to the mainstream as Mix Master Mike joins the "Beastie Boys".

Turntablists such as Tony Vegas, Prime Cuts, Plus One, Craze and
others are currently amazing anyone who sees them in action with
impossibly good scratch mixing, proving that scratching is an art form
of its own. While Superstar DJs continue to jet around the world
getting paid squillions each year, and the beat goes on, and the DJs
power continues to grow – and we love it, because they give us music
and we adore music and so do them. Big up the DJ and the Turntablist.

end of Phile

qui potete trovare un file pdf sulla storia del turntablism: http://downloads.pedestrian.info/PedestrianHistoryofTurntablism.pdf 

xxx

 

Dal sito  http://www.blaxploitation.com/
 

 

 

Blaxploitation.com’s Soundtrack Samples

You asked for it, so here they are! We’ll be providing an occasional
series of ten one-minute samples of the very best in funk soundtracks.
Rare or easy-to-find, if it’s good it merits a place amongst our MP3s.

Feb 2000: Hard funk classics




February 2000’s selection features some of the best hard funk cuts from
soundtracks such as Shaft In Africa, Chastity, On Any Sunday and many
more. Fast, furious and funky!

May 2000: Rare soundtrack choice cuts




May 2000’s selection includes a mix of genres from some of the rarest
soundtrack albums in the funk and groovy genres. Featured albums
include Bare Knuckles, the two Deep Throat LPs, Willie Dynamite and
Solomon King.

August 2000: The crazy world of Italian soundtracks




August 2000’s selection features some of the best in Italian funky and
groovy soundtracks. Rather than concentrate on material you can pick up
on reissue LP, we’ve chosen a bunch of rare original LP-only numbers
from the likes of Yuppi Du, Controrapina, Afyon Oppio and Chi Sei.

October 2000: Disco-funk dancefloor delicacies




October 2000’s selection features a selection of great dancefloor
tracks with a disco element to the funk. We’ve also chosen to
concentrate on the bargain bin, pulling out a series of guaranteed
dancefloor fillers from the late 70s and early 80s that won’t break the
bank.

copertina di "Spiritual Unity" – Albert Ayler Trio

retro della copertina di "Spiritual Unity" – Albert Ayler Trio

Dalle note di copertina dell’LP "Spiritual Unity" – Albert Ayler Trio:

“The symbol ‘Y’ predates recorded history and represents the rising spirit of man.”
 

copertina di Secret Of The "Y" Formula

retro copertina di Secret Of The "Y" Formula

Dalle note di copertina del 12" di DJ Qbert Secret Of The "Y" Formula: 

A MESSAGE FROM THE ULTRA
KNIGHTS: Sol-Kaya (pronounced
soul-kai-ya), or as we know it here as
skratching, has been around for many
ages. Much of it’s origins have been
kept hidden by a powerful secret
skratch society known to us as the
Free Sound Masons. These master
sound shifters keep the information
hidden from us in order to control and
rule the skratch world with their so
called new styles and techniques only
to feed from the worship of their blind
followers. Little do these blind ones
know that all the magic is nothing
more than ancient ideas of the past
being brought to this time once again
for use by the all knowing Free Sound
Masons. The names of these
members would surprise you but for
safety purposes they will not be
revealed..

In this age of Aquarius here on earth,
we see the art of Sol-Kaya has
resurfaced as a turntable with records.
In the past and on other worlds, we
have found Sol-Kaya devices that take
on many forms and some that have no
form at all. There are so many that
your only limit to how many ways
sound can be forged is with your
imagination.

Many practitioners of Sol-Kaya
throughout the universe are ageless
and incredibly skilled. Their sounds
are far more superior than anything
most earth beings could come to
achieve. We can only say that the Sol-
Kayans of this earth still display a wide
range of beautiful expression even in
their suppressed surroundings. The
time is now for earth’s Sol-Kayans to
see beyond what they know and
become everything they imagine!
We the Ultra Knights have come to this
planet here on a mission to free your
minds and make this sacred
knowledge available to you as we too
have access to the universal Oracle of
the Sol-Kaya arts. We now reveal one
of these secret systems and have
embedded upon this record what is
known as the "Y" system. The sounds
of this age and world have been
scattered and assembled onto this
ancient template in order that you may
feel at home as well as being
connected to the energies of the
universal Oracle.

Creation is now at your fingertips as
you are the first to absorb the power of
this sacred tool and release the ancient
Sol-Kaya arts in you! 

---

Your friendly neighborhood…

THX 1138