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Archive by November, 2006

Run DMC’s “Here We Go (Live at the Funhouse),” 12 inch

(Source: DJ Friendly)

Zuly Nation Throw Down, 12 inch

(Source: DJ Friendly)

Loving the Ghost in the Machine: Aesthetics of Interruption by Janne Vanhanen

(Source: CTheory)


[…] I hear no great conceptual divide between various music machines. Whatever means there are available for recording acoustic phenomena or presenting sound, no matter what the source, making sound reproducible and thus variable, all phonographic technologies have the potential to deterritorialize sound and music. Maybe the greatest singular moment in nomadic use (= an act of capturing forces, making a new machinic assemblage of existing machinic formations) of phonographic machinery has been the emergence of hip-hop DJ’ing and the misuse of vinyl records, making a pair of turntables into a nomadic war machine. For a better part of the last century the record remained inactive, a storage capsule of time.


The Turntable by Charles Mudede

(Source: Ctheory.net)

Common talk deserves a walk, the situation’s changed/ everything said from now on has to be rearranged.

— T La Rock

The hiphop DJ is a meta-musician, an author, a programmer, an organizer of recorded fragments and a builder of databases whose talents are uniquely suited to survival and meaningful cultural production in our emerging era of total digital cross-reference.

— David Goldberg

At the dead center of the spiraling galaxy of hiphop culture is the turntable. This is where everything starts: on the grooved surface of a record spinning on the wheels of steel. All truth is here, all meaning — everything that is hiphop…Indeed, an act of pure hiphop devotion might be to let a record play from start to end on a turntable…

— DJ Dusk


American Edit Mash Up

American Edit

(Source: Beatmixed)

Album cover for Green Day Mash up Album by Dean Gray

+ 1 + 1 = 1 The new math of mashups. by SASHA FRERE-JONES

(Source: New Yorker)

Issue of 2005-01-10

Posted 2005-01-03

In July of 2003, Jeremy Brown, a.k.a. DJ Reset, took apart a song. Using digital software, Brown isolated instrumental elements of “Debra,” a song by Beck from his 1999 album “Midnite Vultures.” Brown, who is thirty-three and has studied with Max Roach, adjusted the tempo of “Debra” and added live drums and human beat-box noises that he recorded at his small but tidy house in Long Island City. Then he sifted through countless a-cappella vocals archived on several hard drives. Some a-cappellas are on commercially released singles, specifically intended for d.j. use, while others appear on the Internet, having been leaked by people working in the studio where the song was recorded, or sometimes even by the artist.


The Mash-Up Revolution By Roberta Cruger

(Source: Salon)
August 9, 2003
Destiny’s Child vs. Nirvana! Britney vs. Chic! The Ramones vs. ABBA! How pop’s hottest DJs are creating those wild bootleg remixes — and why they’re so hard to find.

In the 1993 club hit “Rebel Without a Pause,” Chuck D. raps over Herb Alpert’s chirpy trumpet: “A rebel in his own mind/ Supporter of a rhyme/ Designed to scatter a line/ of suckers who claim I do crime.” That incongruous hybrid of hip-hop and bouncy pop, created by the group Evolution Control Committee, sounds as startling and amusing today as it did a decade ago, and still ripe with meaning.


Black Eyed Peas’ Renegotiation Remixes

Black Eyed Peas’ Renegotiation Remixes

(Source: Music World)

Silver Star’s “Love Shack”

Silver Star’s “Love Shack”

(Source: B-52s DE)

DMC Cuts of B-52’s “Love Shack” and Britney Spears’s “My Prerogative”

DMC Cuts of B-52’s “Love Shack” and Britney Spears’s “My Prerogative”

(Source: B-52’s DE)

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