writers connection

fonte: http://www.myspace.com/idaitaly

Informazioni su OFficial_ida_italy_djchampionship

REGOLAMENTI IDA ITALY 2009

Rimanere al top, al più alto livello del djing internazionale. Maggior
prestigio per i partecipanti, per i vincitori, per IDA e ultimo ma non
per ultimo garantire uno show di altissimo livello per il pubblico.
Per questo IDA Italy, per la prima volta, selezionerà solo quattro tra
gli iscritti di ciascuna categoria. Solo i migliori quattro avranno
accesso all’IDA Italy Dj Championship. Gli aspiranti partecipanti
dovranno inviare un video secondo le indicazioni riportate sul
regolamento. I video inviati saranno valutati dalla giuria di IDA Italy.

LE CATEGORIE

Oltre alla classicissima Technical Category dedicata al puro
turntablism, quest’anno verranno introdotte due nuove categorie. La
prima, Show Category, è dedicata all’innovazione e all’interazione tra
turntablism e tecnologia. Fa parte del circuito ufficiale IDA e nelle
ultime edizione ha rappresentato la vera novità nelle dj battle
internazionali.
La terza categoria non fa parte del circuito internazionale IDA, e
viene inserita in via sperimentale solo in Italia. Beat the Beat è una
battle dedicata ai puri producer/beatmaker.

Il format Technical Category comprende in se tutte le forme del djing
come il beatjuggling, lo scratch e il needle drumming. L’abilità
tecnica, lo stile e l’originalità sono i metri di giudizio di cui i
giudici terrano più conto. La giuria in oltre dovrà tenere conto anche
delle reazioni del pubblico, per questo fai in modo di conquistare
oltre al favore della giuria anche quello del pubblico.

IMPORTANTE: NOTE TECNICHE

I partecipanti alla competizione potranno scegliere se utilizzare
giradischi Vestax serie PDX o Technics serie 1200. Mixer, puntine,
cuffie, panni sono a carico del partecipante. Non sono ammesse altre
strumentazioni.

SELEZIONI

Per poter prendere parte all’evento finale IDA Italy Dj Championship
dovrai essere selezionato dai giudici e dall’organizzazione
dell’evento. Invia un video set di 90 secondi , entro e non oltre il 2
novembre, tramite servizi di free upload/download (www.sendspace.com,
www.megaupload.com, www.yousendit.com, www.zshare.net, www.rapidshare)
all’email itf@channelweb.it e specificando il tuo nome, cognome e dj
name e Technical Category. Il video dovrà dare dare un’idea più chiara
possibile e completa delle tue capacità, in modo tale che la giuria
possa dare un giudizio corretto. Entro il 9 novembre verranno
pubblicati su www.myspace.com/idaitaly i quattro partecipanti
selezionati.

LA DJ BATTLE

Semifinale Technical Category

Due round: Uno contro uno (Head to Head), 2 minuti ciascuno

Finale Technical Category

Due round : Uno contro uno (Head to Head), 2 minuti

METRI DI GIUDIZIO

(da 0 a 20 punti)
Musicalità: Armonia del set, Entusiasmo del pubblico
Originality: Creatività, Innovazione, Composizione
Skills: Combos, Scratches, Juggles, Difficoltà, Abilità tecnica
Patterns: Struttura del set, Arrangiamento
Style: Accuratezza, Impressione generale, Presenza scenica, Superiorità, Compostezza

Il vincitore della Show Category avrà diritto di partecipare
alla finale IDA WORLD CHAMPIONSHIP il 12 Dicembre a Cracovia (Polonia)!

La Show Category è stata ideata per dare la possibilità al
dj/team/turntablist/producer di esprimere al suo meglio le proprie
capacità compositive, espressive e tecniche. Per questo la Show
Category permette la partecipazione sia a singoli che a dj team, oltre
all’utilizzo di strumenti ed effetti elettronici e digitali oltre al
giradischi. Sono ammessi in oltre controller come Serato Scratch Live e
simili. Il set dev’essere presentato in forma di canzone/composizione.
Oltre alle capacità tecniche, la composizione e l’innovazione anche il
sapere coinvolgere il pubblico ha un punteggio rilevante nel giudizio
della giuria.

IMPORTANTE: NOTE TECNICHE

I partecipanti sia singoli che team, a prescindere dalla strumentazione
che utilizzeranno, avranno a disposizoine sul mixer di sala solo un
input left e right.

SELEZIONI

Per poter prendere parte all’evento finale di IDA Italy Dj Championship
dovrai essere selezionato dai giudici e dall’organizzazione
dell’evento. Invia un video set di 3 minuti, entro e non oltre il 2
novembre, tramite servizi di free upload/download (www.sendspace.com,
www.megaupload.com, www.yousendit.com, www.zshare.net, www.rapidshare)
all’email itf@channelweb.it e specificando il tuo nome, cognome e dj
name e Show Category. Il video dovrà dare un’idea più chiara possibile
e completa delle tue/vostre capacità, in modo tale che la giuria possa
dare un giudizio corretto. Entro il 9 novembre verranno pubblicati su
www.myspace.com/idaitaly i quattro partecipanti (singoli e o team)
selezionati.

SHOW CATEGORY BATTLE

Show Category: Un set di 6 minuti
Mentri di giudizio (da 0 a 20 punti)
Musicalità: Armonia del set, Entusiasmo del pubblico
Originality: Creatività, Innovazione, Composizione
Skills: Combos, Scratches, Juggles, Difficoltà, Abilità tecnica
Patterns: Struttura del set, Arrangiamento
Style: Accuratezza, Impressione generale, Presenza scenica, Superiorità, Compostezza

Il vincitore (singolo o team) della Show Category avrà
diritto di partecipare alla finale IDA WORLD CHAMPIONSHIP il 12
Dicembre a Cracovia (Polonia). Al momento l’organizzazione potrà
provvedere alle spese di una solo concorrente, anche se il vincitore
sarà un dj team.

Beat the Beat è un nuovo format di battle, introdotto in via
sperimentale da IDA Italy all’interno di IDA Italy Dj Championship. Si
tratta di una battle dedicata ai producer/beatmaker. La battle è
suddivisa in due parti, semifinali e finali. Sia semifinali che finali
saranno suddivise in due set. Nel primo round di 60 secondi il
partecipante dovrà eseguire un beat utilizzando un sample fornito dalla
giuria. Il sample verrà scelto dalla giuria e dato in file wav o aiff
ai partecipanti selezionati entro e non oltre il 9 novembre.
Il secondo round di 60 secondi prevede che il partecipante esegua un
suo beat originale.
La giuria valuterà il modo in cui il partecipante utilizzerà i
campioni, l’orginalità del beat, il suono. La reazione e l’entusiasmo
del pubblico avrà un ruolo essenziale nelle decisioni della giuria.

SELEZIONI

Per poter prendere parte all’evento finale di IDA Italy Dj Championship
dovrai essere selezionato dai giudici e dall’organizzazione
dell’evento. Invia un video set di 60 secondi, entro e non oltre il 2
novembre, tramite servizi di free upload/download (www.sendspace.com,
www.megaupload.com, www.yousendit.com, www.zshare.net, www.rapidshare)
all’email itf@channelweb.it e specificando il tuo nome, cognome e dj
name e Beat the Beat. Il video dovrà dare un’idea più chiara possibile
e completa delle tue/vostre capacità, in modo tale che la giuria possa
dare un giudizio corretto. Entro il 9 novembre verranno pubblicati su
www.myspace.com/idaitaly i quattro partecipanti (singoli e o team)
selezionati.

BEAT THE BEAT BATTLE

Semifinale Beat the Beat

Round 1: Uno contro uno (Head to Head), 60 sec. ciascuno. Beat con sample assegnato
Round 2: Uno contro uno (Head to Head), 60 sec. ciascuno. Beat con samples liberi

Finale Beat the Beat

Round 1: Uno contro uno (Head to Head), 60 sec. ciascuno. Beat con sample assegnato
Round 2: Uno contro uno (Head to Head), 60 sec. ciascuno. Beat con samples liberi

IMPORTANTE: NOTE TECNICHE

I partecipanti potranno utilizzare un controller midi ed un computer, o
una drum machine / sampling producing station come Akai MPC o simili.
Non sono ammessi effetti esterni e non sono ammessi cd player. Ciascun
partecipante avrà a disposizoine sul mixer di sala solo un input left e
right.

Per informazioni ed info scrivi a itf@channelweb.it

ITF/IDA ITALY HALL OF FAME

ITF ITALY ADVANCED CATEGORY
1998 DJ TAYONE
1999 DJ JAYKEY
2000 DJ JAYKEY
2001 DJ MICRO METZ
2002 DJ MICRO METZ
2003 DJ MICRO METZ
2004 DJ CRAIM
2005 DJ CRAIM
2006 DJ CRAIM

IDA ITALY TECHNICAL CATEGORY
2007 DJ CRAIM
2008 DJ MANDRAYQ

ITF TEAM CATEGORY
2000 ALIEN ARMY

WORLD BEST RESULT
1998 TAYONE 4th (ADVANCED CATEGORY)
2005 DJ CRAIM 2nd (TECNICAL CATEGORY)
2007 DJ 2P 2nd (SHOWCATEGORY)
2008 DJ MANDRAYQ 3rd (TECHNICAL CATEGORY)

click on the images to see real size
clicca sulle immagini per vederle in dimensioni reali

http://www.lerart.com
http://www.sfirart.com

Presentazione del nuovo CD di DJ Gruff:

"Sandro O B"

sabato 7 novembre 2009 @ Leoncavallo Spazio Pubblico Autogestito, via Watteau 7, Milano 

dalle 22,30 fino a tardi

sul palco (con Gruff): Bioshi * Cenzou * Clementino * Drugo * Ekspo * Esa * Marco Lombardo * PJ * Roberto Chiga * Sawerio * Swez * Walter Bonnot * 2ice * 2P

Ragga Jungle area: Golden Bass * Tommy Tumble 

ingresso 8 €

10 ottobre 2009 CS Cantiere, Milano: Benopolismi (Gruff & Bonnot)

— 

16 ottobre @ Strike, Roma: Gruff, Sawerio, clementino, Scratchbusters

—

5 STARS NIGHT

17/10/2009 23.30 5 STARS NIGHT pt.1 DJ GRUFF ON DA MIC + BONNOT + COMBOSTYLE
MOVIDA CLUB – PRINCIPINA MARE, Grosseto 58100
Costo: 7 euri

—

23 ottobre Rimini CSA Grotta Rossa: Gruff & Scratchbusters (Drugo, Pijei, Bioshi)

Sabato 26 Settembre

PL Records & BOLO DOPE JAM Presentano
the BOLO BOOM BOX

Grassa selection – tutti gli stili dell’ HIP HOP e RnB , GANGSTA RAP , CRUNK , DUB STEP GRIME , OLD SCHOOL , DANCE HALL e REGGAETON

resident party selecta: YARED DELIRIOUS PIT DOG – GALANTE – DANGER

special guest Dj : LUGI

@ Circolo della Grada
Via della Grada n.10
(dietro a Via del Pratello)
Bologna Centro

ingresso: 5€ + tessera arci
donne 3.50 euro + tessera fino a mezzanotte

sala privè fumatori e 2 bar con cucina aperta tutta la notte fino a mattina con colazione bomboloni.

info: 347 7559392

http://www.facebook.com/pages/YARED-DELIRIOUS-PITDOG/121051592238?ref=sgm

http://www.myspace.com/yareddeliriuspitdog

http://www.myspace.com/portafogliolainzrecords

testo tratto dal flyer della festa riprodotto nell’immagine qui sopra:

il party non stop fino a tarda notte

libera la tua mente e lascia che il tuo culo la segua

—

info

"Free Your Mind and Your Ass Will Follow" Funkadelic 

GRUFFETTI + SCRECCIBASTER, live @ Grotta Rossa [RIMINI]

CSA Grotta Rossa – via della Lontra, 40. Rimini

ingresso 10 € 

per info e prevendite: 333 5704843 (Francesco) o presso Kaboom Store in viale Pascoli 115c  (accanto al passaggio a livello), Rimini.

Ieri, sabato 19 settembre 2009, è scomparso uno dei più grandi dj producer e turntablist di tutti i tempi: Anthony Williams, in arte Grandmaster Roc Raida. Pochi giorni fa è stato vittima di un incidente stradale e si crede che il decesso sia dovuto a complicazioni, ma non è ancora chiaro.

Membro della crew The X-Ecutioners Roc Raida è stato il dj di Busta Rhymes e ha collaborato con Fat Joe, Show & AG, Jungle Brothers, Smif-N-Wessun, Pink e Large Professor.

Voglio ricordarlo dietro la console, all’opera sulle ruote di acciaio.

Riposa in pace

Roc Raida killing it in Oakland

http://www.youtube.com/watch?v=RTbh6Nmrj68

info:

http://www.theboombox.com/2009/09/19/legendary-x-ecutioners-dj-roc-raida-deat-at-37/

http://www.hiphopdx.com/index/news/id.9837/title.turntablism-innovator-deejay-icon-roc-raida-dies

http://www.sohh.com/2009/09/breaking_busta_rhymes_ann.html

http://www.discogs.com/artist/Roc+Raida

intervista a DJ Skizo nel DVD "Alien Army The End Tour"

http://www.youtube.com/watch?v=w5NvAtoFVpU

link:

DJ Tayone intervista DVD Alien Army — http://www.youtube.com/watch?v=fdODnYMLYQc

DJ Gruff & DJ Skizo "Cose che" — http://www.youtube.com/watch?v=3GKYjxo9cZE 

videoclip del brano "Puppet Master", The Soul Assassins

http://www.youtube.com/watch?v=RAEnPi59VTk

"No One Could Speak More Authoritatively for Blacks"
Do the James Brown!

By ROCK and RAP CONFIDENTIAL

    "James Brown had figured out a way to orchestrate a drum set, and make everything in the band work around a groove, rather than a melody."
— Rickey Vincent in "Funk: The Music, the People, and the Rhythm of the One"

The Godfather of Soul’s good timing extended to the era he was born in. He came of age when the isolated South was integrating with America through massive migration and through the struggle against segregation. In 1977, Brown told Cliff White that his mid-60s masterpieces depended upon being exposed to the North: "My eyes started opening … my brain started to intercept the new ideas and thoughts. I became a big city thinker. And I started tying that in". His epochal record "Papa’s Got a Brand New Bag" was recorded in February 1965, the same month Malcolm X was assassinated, and was released in July 1965, three weeks before the Watts Rebellion.

Brown also saw that for most blacks the poverty he’d experienced in the South was also rampant in the North. And James knew poverty intimately–he was often dismissed from school for "insufficient clothes" and was sent to prison at fifteen for stealing a coat. He was essentially homeless from the age of four until future sideman Bobby Byrd’s mother took him in at age eighteen.

Because Brown didn’t cross over like Sam Cooke, Ray Charles, and the Motown artists, his core audience -North and South- remained poor. He continued to speak for them and to them. This was so much true that in 1975 a white man in New York City took hostages at a New York City restaurant to protest the plight of blacks in America and demanded an audience with James Brown. According to Jet Magazine, the gunman felt "that no one could speak more authoritatively for blacks than James Brown". The hostage taker was captured after he fell asleep. Rickey Vincent wrote: "Absurd as the event was, the idea that James Brown carried more weight than any black politician, and still carried the moral authority of the Black nation, was right on target".

Brown endorsed Hubert Humphrey in the 1968 Presidential election and Richard Nixon in 1972. Both times he was damned as a sellout. But Brown’s social and political agenda went far beyond the politics of Humphrey or Nixon. After James Meredith was shot in Mississippi in 1966, James flew to his side and he did benefits for both SNCC and the NAACP. James Brown was anti-nuke. His early tours featured an implicit critique of a criminal justice system he knew all too well.

In Living in America: The Soul Saga of James Brown, Cynthia Rose describes the suitcase prop used by George Haines, the prosecutor who sent a teenaged JB to prison in 1949 ("Your honor, here’s my suitcase! If you let this man go free, I’ll pack up and flee this town!"). "That suitcase became a signature in the paroled entertainer’s late 1950s show," Rose writes, "a red prop emblazoned on one side with Please Please Please and on the other with Baby Take My Hand. Brown would use it to close a set". Later, when he was doing six years in prison for traffic violations, more time than William Calley did for the My Lai massacre, James told the New York Times: "I think there’s a lot of money spent on housing people away from home that should be spent on building them a home so they won’t ever have to leave". On 1972’s "Funky President", Brown was an early proponent of reparations ("Let’s get together, get some land") and even called for people to own their own factories.

According to road manager Alan Leeds, James held court on this agenda in his dressing room every night. He did the same in rib joints, hair salons, and private homes (RRC staffer Black Rose was at one such session in Oklahoma City in the 1970s). A meeting that Brown described as "cordial but direct" took place with SNCC’s H. Rap Brown to discuss strategies for black liberation. They disagreed over the use of violence and, when Rap Brown accused him of being a big star who was out of touch with the masses, James took exception, pointing out: "I probably come from a much poorer background than you do".

Certainly, James was working from personal memory when he produced a 1973 Maceo Parker track, "The Soul of a Black Man" and added lyrics such as "It’s so hard! It’s so baaaaaaaad! When you got three meals a day: oatmeal, no meal, and missed meal!"

In 1968, James had a massive hit with "Say It Loud (I’m Black and I’m Proud)" featuring the key line: "We’d rather die on our feet than be livin’ on our knees". "Say It Loud" is actually an even more powerful statement today, now that the more or less automatic unity of 1968 has been replaced with the hatred of poor blacks expressed by Bill Cosby, Chris Rock, and many others.

Brown said it was clear from the shrinking number of white faces at his shows that "Say It Loud" cost him much of the crossover audience his mid-60s hits had built. Yet the overwhelming power of Brown’s music and message kept leaping racial boundaries (even on "Say It Loud" the children’s chorus was made up entirely of whites and Asians). Later, country stars such as Barbara Mandrell and Porter Wagoner waged a lengthy and ultimately successful campaign to bring James Brown to the Grand Ol Opry. James got up on that hallowed stage and did a couple of country songs and spoke about the impact of the Grand Ol Opry on his work. He was greeted warmly by most Opry fans who, in addition to enjoying the music, may have felt a kinship with Brown based on a common background of Southern poverty.

To impose his will upon the world, James Brown constructed a byzantine business empire and rehearsed and punished his band members to the point of mutiny. "If I had to fight James Brown, right away I would have a gun", Brown’s former bandleader Fred Wesley said. "Because his determination to win isjust more powerful than anyone else’s I’ve ever seen".

Brown ignored record contracts when they got in his way. For instance, in 1959 he went to Dade Records when his label, King Records, wouldn’t allow him to record instrumentals. The result was "Do The Mashed Potatoes, Parts 1 and 2", a Top 10 R&B hit issued under the name of Nat Kendrick and the Swans. Brown did it again later when he recorded a brilliant jazz organ album for Smash. He built a business empire of radio stations and real estate in pursuit of not just wealth but his own vision of freedom. As he put it: "You need power to get freedomYou need freedom to create." And create he did. Not just his own monumental catalog (including the number one 1962 pop album Live at the Apollo, which James had to pay for himself because his record company said it wouldn’t sell), but a torrent of albums by sidemen and singers alike. Brown’s own People Records issued message records by some of his female vocalists, such as Vicki Anderson’s "Message From the Soul Sisters" and Lyn Collins’ "Take Me Just as I Am".

Today we are once again sliding into the abyss that James Brown described in the liner notes to his 1974 album, Hell. "It’s hell down here and we’ve got to make a change. It’s hell when you don’t have a job and you can’t eat. Drugs are hell. War is hell. Prison is hell". And, most important of all: "It’s hell tryin’ to do it by yourself". James Brown had a monumental ego but he spared no effort to involve other people in the realization of his personal and artistic vision. He reached out relentlessly to find the hundreds of musicians and singers who helped him to create his music. He built a vast nationwide network of DJs, record stores, small businesses, and fans. He made sure that he stayed connected to his core audience.

Midway through the epic version of "There Was a Time" from Live at the Apollo, Volume 2 James Brown is leading the crowd through a chant. He calls out how many "unh!"s to bellow out to follow the refrain of "Hey, hey, I feel allright". The band is unbelievable-a thousand subtleties coalescing into a mighty rhythmic river. But there’s a guy in the audience who’s messing up the ritual by following a separate count. James chides him gently, speculating that the man is in a hurry to take the power of the show back home to the bedroom ("He’s got something else on his mind!"). It continues and James pleads with him: "Come on brother, don’t take all this groove away!"

James is laughing because he knows that a nuclear warhead couldn’t take that groove away. But he’s also dead serious, because he knows what it took to create the James Brown groove and bring it to the people. He knows that the groove contains more than music, that it’s a train with a destination of the greatest importance. James Brown died before his groove got to the end of its journey. He left it for us to do with what we will, what we can, what we should. We’ll know we’ve completed that mission when every man, woman, and child on earth can survey their lives and loudly proclaim: "Hey, hey, I feel allright-unh! unh! unh!"

Rock and Rap Confidential, one of the few newsletters both editors of CounterPunch read from front to back the moment it arrives, is edited by Lee Ballinger and Dave Marsh and now it’s available to you for FREE simply by sending an email to: rockrap@aol.com.

rest in peace Mister Dynamite 

your friendly neighborhood… THX 1138