#DJ Controller for sale

[djjvc]

PITCH DJ School - Best DJ Academy & DJ Gear Marketplace

Have you ever dreamt of becoming a DJ or improving your skills in the world of mixing music? At PITCH DJ School, nestled in the lively Venice Grand Canal Mall in Taguig, Philippines, you can dive into an incredible journey through the art of DJing. Owner and seasoned DJ, Bad Boy Jeff, spearheads this exceptional academy. Offering a range of brand new and used DJ controllers, CDJs, Pioneer and…

[evan-collins90]

Sam Goody stores at Universal CityWalk & Horton Plaza (1993 & 1995)

"The synthesis of three distinct merchandising departments for the new Sam Goody store at the Universal Citywalk exhibits a design of dynamic expression by the Jerde Partnership design team.

The new building sits on the center court of an outdoor shopping mall in Southern California. Representing the three merchandising concepts of Sam Goody, the design pronounces each area through unique and interrelated façades.

The customer enters the Popular Music department through an animated, neon-accented color plaster façade. The entrance to the Classics department and the upstairs Coffee Cafe is between two 40 foot high, 10 foot in diameter Corinthian columns within an interpretative classical façade. A 35 foot high, two-dimensional profile sign depicting King Kong climbing the face of a black and metallic bronze tile building hangs over the entrance to Suncoast Motion Picture Company (video).

The central sales environment is referred to as Backstage, and has the character and atmosphere of a soundstage/studio. The two-story space is defined by upper level catwalks and the destination mezzanine known as the Coffee Cafe. A three-dimensional, walk-through Media Wall features music advertising, photos, oversized images, photo lightboxes, video monitors, projected music videos, reader boards and graphic elements.

Media events are orchestrated throughout the day in an ever-changing environment that depicts the trends of popular music and movies. Weather reports, current events and promotional messages continuously scroll by on the reader boards. In-store performances, CD signings and record promotions bring a sense of "an event" to the store. A live VJ/DJ controls all aspects of the store's music and video media, and interacts with the customers.

On a floating piano-shaped level, the Classics department features a state-of-the-art inventory of classical and jazz selections and creates a controlled, intimate area for the customer with special acoustics, localized sound systems, listening stations and lighting. In the Suncoast Motion Picture Company department, tall video columns accent the environment, supporting the sale of videos and laserdiscs. Interspersed throughout the department are video monitors creating the effect of video confetti.

The Coffee Cafe features a wide variety of interactive listening stations and media experiences. It is intended to be an intimate environment where the customer can pause, enjoy the fare, engage in conversation and take in views of the store as well as the street below through its windows."

Designed by The Jerde Partnership

Scanned from: Stores - Retail Display & Design (1997), Great Store Design 2 (1996), Shops & Boutiques (1994)

[y2klostandfound]

How to win - Jet Set Radio Future on Game Players New magazine Vol.29 (Video game magazine)(Hong Kong)(2002)(06/03/2002)(Part 1)

Translation in English:

XBOX

2002

On sale

ACT - SEGA

6,800 Yen - 1-4 players

Corresponding to 5-1ch audio equipment

Attention!

This game is only suitable for and anyone who may imitate or reference the in-game characters should also avoid touching this game as much as possible. If anyone engages in similar behavior after reading this article, I or the publication will not be held responsible, please pay attention!

JET SET RADIO FUTURE

Hello everyone! I am a DJ PROFESSOR K, the embodiment of beauty and wisdom, and a heroic companion!! Do you feel that life is boring? Looking for something fun to do? Come on! Listen to my Tokyo underground radio station! ! Don't forget the name, yes! ! It's "JET SET RADIO"! ! YEEEEEEEE~~~~HAAAAAA! ! !

Let's start with an introduction to the current situation! Tokyo is now dominated by Gouji Rokkaku , whose "Rokkaku Group" is more powerful than the local government, and no matter what level it is, such as real estate, society, culture or entertainment, it is also controlled by them, and the people have no freedom of choice at all, day after day, month after month, they live according to the meaning of the Rokkaku, without a soul and without their own selves. Recently, Rokkaku succeeded in becoming the mayor, which completely fell to the hands of Rokkaku in Tokyo, even the law can be changed by him at will, of course, the police are not spared, and they have become Rokkaku's Corps and they are fighting against those who are against him, OH MY GOD!

However, where there is darkness, there is light, and a group of young people who are passionate about life are determined to vent their inner grievances with graffiti and to awaken the sleeping people with crazy actions. But there was one thing that surprised them, When it happened, it turned out that "Rokkaku Expo Stadium" was in full swing, and the surrounding vigilance was also strengthened a lot, which made the struggle between these young people and the Rokkaku Group heated up. Although the enemy is a group with great power, fortunately, many capable people have joined in the process of protest, which has ignited new hope for this group of young people. And this class of ideal Stormy Teenagers, they call themselves "GG"! !

Members of GG

CORN

The person who already existed when GG was founded is now GG's leader, very competitive, and often considers himself a genius.

GUM

She is another main member of GG, is responsible for the operation of the organization together with CONE (CORN), she is so calm that the men who have a crush on her automatically give up after ten minutes.

YOYO

The new member of the GG, the typical storm boy, is arrogant and often calls himself a cannon king.

BEAT

The mysterious boy who appeared on the streets of Tokyo, since his appearance, things have changed rapidly.

ROBOY

The robot that CONE(CORN) retrieves, everything else is unknown, only known to be as arrogant as CONE(CORN).

ROKKAKU GROUP

Rokkaku Police

The front-line personnel of the Rokkaku Group, everything that will hinder the people and things of the Rokkaku Group is also their goal.

HASHED (HAYASHI)

The police commander of the Rokkaku Police Force, Division 0 is a very troublesome policeman. If he is targeted by him, he will never have a good life.

Gouji Rokkaku

The chairman of the Rokkaku Group, who dominates Tokyo's economy and culture, is a very authoritarian careerist.

Getting Started

Controller

Buttons MENU In-game

Left Stick Select Walk/Run

Right Stick -- Look around (while standing)/Map

rotation (in PAUSE)

Arrow keys Select --

A button Decide Jump/Decide

B button Cancel Accelerate/Use props during battle

X button -- Continuous TRICK/HANDPLANT

Y button -- Continuous TRICK/TURN

START button Decide PAUSE on

BACK button Cancel Cancel

Left button -- The camera direction is corrected

to the front

Right button -- Spray GRAFFITI/ Dialogue unfolds

Various Actions Basics

Walk/Run

Left STICK is to control the character's movement. After inputting a few directions, the character will make a sprint start and then move forward at an even speed.

Jump

The A button is for jumping, The distance and height depend on the time of pressing the button, if you press it for a long time, you will jump higher, different characters will have more or less jumping power.

Turn

On the way to several directions, press the Y button to make the character turn his back foward and make a backward movement.

Dialogue

Some characters can have a dialogue with the player, as long as you approach the player, the dialogue icon will appear, and you can press the right button

Accelerate

Each time you use it, you need to consume 10 cans of spray paint, press the B button to use it, and you don't need to use it while jumping.

Camera Correction

During the game, the camera will turn with the character's movement, press the left button to correct it to look straight ahead.

TIC Tips

When fighting against the enemy or Rival, the left button can be used to lock the target. When the opponent is in front and the CURSOR is yellow, press the left button, and the CURSOR will turn red. At this time, press the B button to accelerate, and there is a chance to make a straight line to recover the gap, but it still needs 10 cans of spray paint.

TRICK

GRIND

Basically all handrails or fences can also do this action, just walk close to the above facilities, press the A button to jump, the character will automatically slide on the handrail or fence, and is not limited by the slope, even if it's vertical.

AIR

Using speed or an inclined platform, you can jump higher than normal, and the movements you make while flying are classified as AIR.

WALLRIDE

Specific walls (such as advertising boards) allow players to slide on them, and they are not limited by the slope, as long as the character touches the wall, and the speed is faster than that on the ground.

HANDPLANT

In some "U" shaped terrain, it is possible for the character to make this action, and when the character is about to reach the edge of the item, press the X button to make an upside down posture, which has the effect of accelerating.

COMBINATION

GRIND COMBINATION

On the railing-shaped terrain, it is possible to make GRIND movements, but in fact, combined actions can also be added to GRIND movements. And the method is simple, just press the X and Y buttons, and press continuously to make a series of actions to increase the score, as for what the use of the extra score is, I will introduce it to you later.

AIR COMBINATION

AIR COMBINATION is almost the same as GRIND, as long as you enter X and Y in the air state, the character will make fancy.

Spray Painting Tips

In the game map, there will be a rotating round plan (GRAFFITI POINT) on the wall, which represents a place that needs to be painted, the player has to make the character approach and then press the right button to spray the pattern. Each GRAFFITI POINT needs to consume a can of spray paint, but one thing to note is that pressing the right button anywhere will also consume a can of spray paint.

Continuous spraying

If there are more than one GRAFFITI POINT side by side on the wall, it means that the spray painting is of a larger size. Players can start from the first pattern and press the right button until the last one.

The type of spray painting

There are five sizes of spray painting in the game, namely SS, S, M, L, and XL.

NEW GAME

After selecting NEW GAME, you will start the main game mode for one person only and in order to spray GG's spray paint all over Tokyo, the player must travel through all the different areas and solve the obstacles in front of you. The game consists of two main parts, "STREET" and "GARAGE PARK", which will be introduced in detail below.

STREET

Based on Tokyo, each "STREET" can be regarded as a level, and certain conditions must be completed before moving on to the next one. As for the conditions, it is different each time, the player can ask other team members at Garage Park or listen to JSR'S DJ PROFESSOR K for information. But there is one thing common to all STREETs, that is, all spray painting must be completed. Another thing that we must mention is that each STREET will have certain hidden things that will not be provided with intelligence, how to find out, you have to look at your skills.

GARAGE PARK

The base camp of GG, all team members will also gather here, players can freely practice here, and listen to the ADVICE of teammates. In addition, if you talk to ROBOY, you can enter the GARAGE MENU screen, which has functions such as game setting change, SAVE, custom spraying, basic skill training, and character rotation in use. And every time you finish a street, you have to come back here once, so GARAGE PARK is definiteky an important place.

GG Handbook

In the GG Handbook, you can clearly understand the "STREET MISSION" of each version, so what is STREET MISSION?

In fact, these are the conditions for the appearance of the hidden "GRAFFITI SOUL" and every time you complete a STREET MISSION, a GRAFFITI SOUL will appear. GRAFFITI SOUL is an optional spray pattern that can be viewed and selected in the GARAGE MENU after obtaining it. However, in order to make STREET MISSION appear, you must first find and get the "MYSTERY TAPE" in this section, then the STREET MISSION can be found in the GG Handbook.

PAUSE Screen Diagram

1.Instruction - Indicates the condition or goal that is currently a priority.

2.The street where you are - Displays the name of the street where the player is currently located.

3.GRAFFITI SOUL/ GRAFFIT in the map -

Top:The number of GRAFFITI SOULS acquired in the same layout.

Bottom: The number of GRAFFITI completed in the same layout, calculated in GRAFFITI POINT.

4.Number of GRAFFITI SOUL - Number of GRAFFITI SOUL acquired.

5.The Direction of the PLAYER - The arrow represents the front of the player.

6.ICON-

CHARACTER CHANGE: Available only at GRAFFITI STOP.

SAVE:Available only at GRAFFITI STOP.

GG Handbook: The conditions in each map and the content of "Mystery TAPE".

Back to the game

Game Screen Explanation

MAIN GAME Screen

The usual game screen, STREET is the same as GARAGE PARK.

1.STAMINA GAUGE - After receiving damage, it will be reduced, and when it is reduced to zero, it will be game over.

2. Number of spray paint cans - It can be collected on the street, and you must have spray paint before you can spray paint.

3.Number of GRAFFITI - The number of paintings on the same layout, the number completed is on the left, and the total number is on the right.

4.GRAFFITI POINT - You must have this logo to spray paint on the wall.

5.SPEED METER - Indicates the current speed of the character.

Use continuous TRICK!

When using continuous TRICK, additional points will appear on the upper left of the screen. The more consecutive TRICKs you perform, the higher your score will be. When you reach a certain level of score, there will be "prizes". Let's work hard! !

BATTLE screen

There is a slight difference between BATTLE and MAIN GAME game modes, so the screen representations are different.

1.TIME - An item that will appear in RACE MODE, which will give the player a better understanding of the current situation when racing with RIVAL.

2.CURSOR - Whether it is BATTLE with the enemy or a RIVAL, CURSOR will also appear. When you approach the opponent, CURSOR will appear on the opponent.Press the left button at this time, and the CURSOR will turn red, indicating that the person has locked the target.

PAUSE screen

Press the START button during the game to enter the PAUSE screen, which is a decisive help for playing the game. You can also enter this screen when you are in BATTLE. Press the left and right buttons to switch map mode and view the entire map. In addition, the "GG Handbook" can also be viewed on this screen.

Continue to Part 2

[satoshi-mochida]

Some games on the PSN New Year Sale. Ends February 1st.

13 Sentinels

Actraiser: Renaissance

Afterimage

AI: The Somnuim Files

ALTDEUS: Beyond Chronos

Anima: Gate of Memories

ANONYMOUS;CODE

Arcade Spirits

Ary and the Secret of Seasons

A Space for the Unbound

Assault Suit Lynos

Bayonetta and Vanquish

Buried Stars

Castlevania Anniversary Collection

Chaos;Child

Coffee Talk

Coffee Talk 2

Control

Crash Bandicoot N. Sane Trilogy

Cris Tales

Cross Code

Cult of the Lamb

Cyber Citizen Shockman

Cyberdimension Neptunia

Danganronpa 1-2 Reload

Danganronpa V3

Darkwood

Death end reQuest

Death end reQuest 2

Devil May Cry HD Collection

Digimon Survive

Dissidia Final Fantasy NT

DJ Max Respect

Double Dragon Gaiden

Dragon Ball FighterZ

Dragon Ball Xenoverse

Dragon Ball Xenoverse/Xenoverse 2 Bundle

Dusk Diver

Earth Defense Force 5

Earth Defense Force: Iron Rain

Exoprimal

Fallen Legion: Sins of an Empire

Final Fantasy XV: Royal Edition

Final Fantasy XV: Comrades

Freedom Planet

Ghost n Goblins Resurection

Ghost Trick

Giga Wrecker Alt.

Ginga Force

Goat Simulator

Goat Simulator 3

God Eater Resurection

God Eater 3

Gravity Rush Remastered

Grim Fandango Remastered

Gungrave G.O.R.E.

Harvest Moon: The Winds of Anthos

Hatsune Miku: Project Diva X

Horizon: Zero Dawn

I Am Setsuna

In Nightmare

Jak and Daxter

Jak II

Jak 3

Jak x: Combat Racing

Kaze and the Wild Masks

Kerbal Space Program

Kingdom Hearts HD 1.5 + 2.5 Remix

Kingdom Hearts 2.8

Labyrinth of Zangetsu

Laika: Aged Through Blood

Legend of Mana

Light Fairytale Episode 1

Light Fairytale Episode 2

Like a Dragon: Ishin

Little Nightmares

Little Nightmares 2

Little Witch Academia: Chamber of TIme

Lock's Quest

Lost in Random

Lost Judgment

Made in Abyss; Binary Star Falling Into Darkness

Maglam Lord

Mary Skelter Finale

MediEvil

Metal Gear Solid 5

Metal Max Zeno Reborn

Mirror's Edge Catalyst

Monster Hunter Rise

Mr. Driller DrillLand

My Aunt is a Witch

My Hero: One's Justice

Several Naruto games

Neverending Nightmares

Ni no Kuni 2

Obliteracers

Omega Quintet

Several One Piece games

Oninaki

Our World is Ended.

Owlboy

Persona 4 Ultimax

Persona 5 Royal

Potion Permit

Praey for the Gods

Pumpkin Jack

Raging Loop

Relayer

Re:ZERO -Starting Life in Another World- The Prophecy of the Throne

Several Resident Evil games

River City: Rival Showdown

Romancing SaGa 2

Romancing SaGa 3

Root Film

Root Letter

SaGa Fronter Remastered

SaGa Scarlet Grace

Sakura Wars(PS4)

Samurai Shodown

Scribblenauts Mega Pack

Secret of Mana

Sega Gensis Classics

Simulacra

Skul: The Hero Slayer

Slender: The Arrival

Song of Memories

Sonic Frontiers

Sonic Superstars

Steins; Gate

Steins; Gate 0

Steins; Gate: My Darling's Embrace

Super Bobmerman R

Super Monkey Ball: Banana Blitz HD

Super Night Riders

Sword of the Vagrant

Taiko no Tetsujin: Drum Session

Tales of Zestiria

Tembo the Badass Elephant

The Evil Within

Several King of Fighters games

Valkyria Chronicles 4

Valthirian Arc: Hero School Story

Valthirian Arc: Hero School Story 2

Various Daylife

Warborn

When the Past was Around

Yakuza 3 Remastered

Yakuza 4 Remastered

Yakuza 5 Remastered

Zanki Zero

[twodeluxe]

🦐 for the ask game!!!

the emotions really DO be shrimpin'....

so beatmania iidx has me by the throat rn and i'm absolutely in love with all the roots26 characters. they're very interconnected, and all sorts of little mundane details about each one make them feel like people i could know. i've got two favorites but the one who's currently eating most of my fucking brain real estate is

duel

real name "leonard baxter," which is a very silly name in my honest onion. i am never going to call him that ever in my life. the aliases are basically just IIDX usernames anyway so that's cute in a way i guess.

he's a british weeaboo. completely seriously. i'm going mostly off the arcadia version of his profile here - he was a sweet kid who liked soccer, but got screwed over after his parents' store went bankrupt, started fucking around as a broker in the black market because poverty. got stabbed, got inspired to move to japan from a movie he saw while he was in the hospital, and now he writes books about culture and uses his black market sales skills to export weeb shit.

oh, and as per heroic verse and rage, apparently he's also some kind of dog-mecha-suit-wearing demon-assassination-strike-team-member who's on the leash of one of the more morally dubious recurring characters.

"isn't this a game about being a dj," someone asked me recently. (it is.)

siren calls him shady basically to his face. iirc one of the girls says he talks strange (he does - from what i can see he tends to quote stuff and has other...quirks.) he dresses like a mall ninja military fetishist. (he's never been in the military - though another fucking iidx dj has. nix my beloved.) i threw some actual official art of him on a customized eamusement card decal and my friend said i shouldn't use it because it has actual gang imagery in it. (i only mention this because i think it's hilarious in retrospect.)

i hate this man. i want to put him in the dryer spin cycle. his fashion choices make me want to eat my own iidx controller. he's the exact kind of person i'd kill to be friends with because he'd invite me to go to japanese history museums. his tits are out in the newest art of him that i've found. if he wanted to put a dog collar on me i probably would not tell him no.

shrimp emotions indeed

[my-chaos-radio]

Release: December 31, 1994

Lyrics:

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

It was Friday night and I was just chillin'

Like I always do on Fridays

The next thing I knew I got this funny feeling

Like it was time to get the party started

So me and my girls went down to the club

Right around the corner in front of the place where the sales stood

There were people everywhere waving their hands high in the air

Pumpin' their things toward the sky shakin' their butts from side to side

Yelling at the top of their lungs but they were having fun

And they were sayin'

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go

Booyah here we go

Booyah here we go

Booyah here we go

Oh ya

It looks like the party is in here ya'll

Booyah here we go afraid that the pigs think

The party's getting hyper yo

Too loud too cool too down

Ain't nothing to it but to work the thing

All the way down

I hate people to damn to get sweat

The way I get with all of you willing to let it get

Just ride the groove feel the beat

Just honey fair let it be

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go

Booyah here we go

Booyah here we go

Booyah here we go

The dance floor was packed the house was rockin'

All the fellas in the house they were jackin'

DJ was pumpin' it up the place was booming

Everybody having a good time doing what they do and

Caught the hype just couldn't let go

What made me do it

I just don't know

But it starting getting outta control so I grab the microphone

Just started kickin' a rocksel all the party people swayin' left to right

Had them all screaming of the top of theirlungs they where having fun

Songwriter:

And they were sayin'

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go work that thing till we hit the floor

Booyah here we go

Booyah here we go

Booyah here we go

Booyah here we go

Booyah here we go

Roberto Geo Rosan / Edward Louis

SongFacts:

👉📖

[lboogie1906]

Darryl Matthews McDaniels (born May 31, 1964) known by his stage name DMC, is a musician and rapper. He is a founding member of the hip-hop group Run–D.M.C. and is considered one of the pioneers of hip-hop culture.

He grew up in Hollis, Queens. He attended Rice High School in Manhattan and enrolled at St. John’s University.

He first became interested in hip-hop music after listening to recordings of Grandmaster Flash and the Furious Five. He taught himself to DJ in the basement of his parent’s home, using turntables and a mixer that he bought with his older brother, Alford, after having a comic book sale in their neighborhood. He adopted the stage name “Grandmaster Get High”.

He sold his DJ equipment after his friend Joseph “Run” Simmons acquired his turntables and mixer. After Jam-Master Jay – who had a reputation as the best young DJ in Hollis – joined the group, Run encouraged him to rap rather than DJ. Gradually, he came to prefer rapping to mix records and adopted the nickname “Easy D”. In 1981, he dropped the “Easy D” moniker in favor of “DMcD”, the way he signed his work in school, and then the shorter “D.M.C.”. This new nickname alternately stood for “Devastating Mic Control” or “Darryl Mac”, his nickname since childhood as referenced in the lyrics of the song “King of Rock”. #africanhistory365 #africanexcellence

[grantgoddard]

Mister Soul Of Jamaica … and Thamesmead : 1938-2008 : reggae artist Alton Ellis

 The first record played on the first week’s show of the first reggae music programme on British radio was a single by Alton Ellis, a magnificent singer/songwriter too often overlooked when reggae legends are named. I immediately fell in love with his soulful voice, his perfect pitch and his beautifully clear enunciation, rushing out to buy ‘La La Means I Love You’ [Nu Beat NB014], unaware it was recorded two years earlier. Like many of Ellis’ recordings, this was a cover version of an American soul hit (despite the label’s songwriter credit), though Ellis distinguished himself from contemporaries by also writing his own ‘message’ songs with striking lyrics and memorable hooks. My next single purchases were noteworthy Ellis originals:

‘Lord Deliver Us’ [Gas 161] included an unusual staccato repeated bridge and lines that demonstrated Ellis’ humanitarian pre-occupations, including “Let the naked be clothed, let the blind be led, let the hungry be fed” and “Children, go on to school! Be smarter than your fathers, don’t be a fool!” Its wonderful B-side instrumental starts with a shouted declaration “Well, I am the originator, so you’ve come to copy my tune?” that predates similar statements on many DJ records.

‘Sunday’s Coming’ [Banana BA318] has imaginative chord progressions, a huge choir on its chorus and lyrics “Better get your rice’n’peas, better get your fresh fresh beans’’ that locate it firmly as a Jamaican original rather than an American cover version. Why does it last a mere two minutes thirty seconds? The B-side’s saxophone version demonstrates how ethereal the rhythm track is and shows off the dominant rhythm guitar riff beautifully. It’s a masterclass in music production.

It was only after Ellis had emigrated to Britain in 1973 that a virtual ‘greatest hits’ album of his classic singles produced by Duke Reid was finally released the following year, entitled ‘Mr Soul Of Jamaica’ [Treasure Isle 013]. I recall buying this import LP in Daddy Peckings’ newly opened reggae record shop at 142 Askew Road and loved every track on one of reggae’s most consistently high-quality albums (akin to Marley’s ‘Legend’). It bookended Ellis’ most creative studio partnership in Jamaica when Reid had to retire through ill health.

What was it that made Ellis’ recordings so significant? Primarily, as the album title confirms, it was that his voice uniquely sounded more ‘soul’ than ‘reggae’, occupying the same territory as Jamaica’s ‘Sam & Dave’-like duo ‘The Blues Busters’. I have always harboured the sentiment that, if he had been able to record in America during the 1960’s, Ellis could have been a hugely popular soul singer there. Maybe label owner Duke Reid shared this thought, having recorded ‘soul’ versions of some of Ellis’ biggest songs for inclusion in a 1968 compilation album ‘Soul Music For Sale’ [Treasure Isle LP101/5]. However, at the time, reggae was a completely unknown genre in mainstream America, so Reid’s soul recordings remained unknown there. [The sadly deleted 2003 compilation ‘Work Your Soul’ [Trojan TJDCD069] collected some fascinating soul versions by Reid and other producers.]

Secondly, Ellis’ superb Duke Reid recordings were backed by Treasure Isle studio house band ‘Tommy McCook & the Supersonics’ whose multitude of recordings during the ska, rocksteady and reggae eras on their own and backing so many singers/groups demonstrated a tightness and professionalism that is breathtaking. Using only basic equipment in the studio above Reid’s Bond Street liquor store, engineer Errol Brown produced phenomenal results for the time, operating a ‘quality control’ that belied the release of dozens of recordings every month.

Finally, Ellis’ recordings displayed a microphone technique that was unique in reggae and demonstrated his astute knowledge of studio production techniques. At the end of lines, he would sometimes turn his head away from the microphone whilst singing a note. Because Jamaican studios were not built acoustically ‘dead’, Ellis’ head movement not only translated into his voice trailing off into the distance (like a train pulling away) but also allowed the listener to hear his voice bouncing off the studio walls. ‘Reverberation’ equipment to create this effect technically was used minimally in studios until the 1970’s ‘dub’ era, so Ellis seemed to have improvised manually. Perhaps he had heard this effect on American soul records of the time?

On one of his biggest songs from 1969, ‘Breaking Up Is Hard To Do’ [Treasure Isle 220], you can hear Ellis use this effect during the chorus when he sings the words “everybody knows”, particularly just prior to the fade-out. It is similarly evident on Ellis’ vocal contribution to the brilliant DJ version of the same song, ‘Melinda’ by I-Roy [on album Trojan TRLS63] recorded in 1972.

The same vocal technique is audible on other songs including ‘Girl I’ve Got A Date’ [Treasure Isle DSR1691] in which Ellis elongates the word “tree” into “treeeeee”, as well as “breeze” into “breeeeeeze”, whilst moving his head away from the microphone.

I had always been intrigued by Ellis’ recording technique but had not thought anything more of it until, entirely by accident half a century later, I found startling 1960’s footage recorded at the Sombrero Club on Molynes Road up from Half Way Tree, Jamaica. Backed by Byron Lee’s Dragonaires, an uncredited vocal group I presume to be ‘The Blues Busters’ performed their 1964 recording “I Don’t Know” [Island album ILP923] during which one of the duo (Lloyd Campbell or Phillip James) moves his head away from the microphone at the end of lines, similar to what can be heard on Ellis’ recordings.

This started me searching for 1960’s footage of Ellis performing live. Sadly, I found nothing (either solo or in his previous duo with Eddie Parkins as ‘Alton & Eddy’ [sic], similar to ‘The Blues Busters’) to see if he emulated this vocal technique on stage too. For me, it remains amazing that the smallest characteristics audible in a studio recording (particularly from analogue times) can offer so much insight into the ad hoc techniques adopted to overcome the limitations of available technology. The ingenuity of music production in Jamaica during this period was truly remarkable.

Prior to emigration, Ellis had toured Britain in 1967, performing with singer Ken Boothe. Whilst in London, he recorded a single ‘The Message’ [Pama PM707] in which he raps freestyle rather than sings, fifteen years prior to Grandmaster Flash’s hit rap track of the same name, and declares truthfully “I’m the rocksteady king, sir”. Its B-side pokes fun at 'English Talk' that he must have heard during his visit. The backing music is the clunky Brit reggae of the time, but Ellis’ subject matter is fascinating for its innovation.

1971’s ‘Arise Black Man’ [Aquarius JA single] includes the lyric “From Kingston to Montego, black brothers and sisters, arise black man, take a little step, show them that you can, ‘coz you’ve got the right to show it, you’ve got the right to know it”. The verses and chorus “We don’t need no evidence now” are backed by a big choir. It’s a phenomenal tune despite not even having received a UK release at the time. (Was the chorus a reference to Britain's 1971 Immigration Act in which a Commonwealth applicant was "required to present [...] forms of evidence" to "prove that they have the right of abode" in the UK?)

The same year, ‘Back To Africa’ [Gas GAS164] has the chorus “Goin’ to back to Africa, ‘coz I’m black, goin’ back to Africa, and it’s a fact’ backed by a choir once again. There’s an adlibbed interjection “Gonna stay there, 1999, I gotta get there” that predates Hugh Mundell’s seminal song ‘Africans Must Be Free By 1983’.

Again in 1971, Ellis re-recorded his song ‘Black Man’s Pride’ [Bullet BU466], previously made for producer Coxson Dodd [Coxson JA single], with it’s shocking (at the time) chorus “I was born a loser, because I’m a black man”. The verses are a history lesson in slavery: “We have suffered our whole lives through, doing things that they’re supposed to do, we were beaten ‘til our backs were black and blue” and “I was living in my own land, I was moved because of white men’s plans, now I’m living in a white man’s land”. I consider this phenomenal song the direct antecedent of similarly themed, outspoken recordings by Joe Higgs (‘More Slavery’ [Grounation GROL2021]) and Burning Spear (“Slavery Days” [Fox JA pre]) in 1975. If only this Ellis song was as well-known as Winston Rodney’s! [In initial recorded versions, “loser” was replaced by “winner” and the song retitled ‘Born A Winner’.]

I first discovered Ellis’ song ‘Good Good Loving’ [FAB 165] as the vocal produced by Prince Buster for a DJ track by teenager Little Youth on the 1972 compilation album ‘Chi Chi Run’ [FAB MS8, apologies for the language] called ‘Youth Rock’. At the time, I was crazy about this recording, combining a high-pitched youthful talkover with a solid rhythm and Ellis’ trademark voice in the mix. I will be forever mystified as to why the DJ (sounding like Hugh Mundell/Jah Levi) seems to refer to “Cool Version by The Gallows [sic]” in his lyrics!

In 1973, Ellis released the song I never tire of hearing, ‘Truly’ [Pyramid PYR7003], that benefits from such a laid-back rhythm that it feels it could come to an abrupt stop at times. It is one of Ellis’ simplest but most effective songs and has become a staple of reggae ‘lovers’ singers since, employing wonderfully unanticipated chord changes. It sounds like a self-production, even though UK sound system man Lloyd Coxsone’s name is on the label. This should have been a huge hit record!

There are so many more Ellis tracks from this fertile early 1970’s period that make interesting listening, recorded for many different producers and released on different labels. Sadly, no CD or digital compilation has managed to embrace them all. I still live in hope.

After Ellis moved permanently to Britain during his late thirties, he must have struggled in the same way as some of his contemporaries, trying to sustain their careers in the ‘motherland’. Despite UK chart successes, Desmond Dekker, Nicky Thomas, Bob Andy and Jimmy Cliff were very much viewed as one-off ‘novelty’ hitmakers by the mainstream media rather than developing artists. Worse, Ellis had never touched the British charts. Neither did the majority of reggae tracks produced then in British studios sound particularly ‘authentic’ to the music’s audience, let alone the wider ‘pop’ market. Ellis performed at the many reggae clubs around Britain but the rewards must have been limited.

Ellis’ British commercial success came unexpectedly when another ‘novelty’ reggae single shot to number one in the UK charts in 1977. Its story is complicated! The previous year, Ellis’ 1967 song ‘I’m Still In Love With You’ had been covered in Jamaica by singer Marcia Aitken [Joe Gibbs JA pre]. A DJ version by Trinity over the identical rhythm followed called ‘Three Piece Suit’ [Belmont JA pre]. Then two young girls, Althia & Donna, recorded their debut as an ‘answer’ record to Trinity on the same rhythm and named it ‘Uptown Top Ranking’ [Joe Gibbs JA pre]. Other producers released their own ‘answer’ records, rerecording the identical rhythm, all of which could be heard one after the other blaring from minibuses’ sound systems in Jamaica at the time. Unfortunately for Ellis, Jamaica had no songwriting royalty payment system in those days.

I remember first hearing ‘Uptown Top Ranking’ as an import single on John Peel’s ‘BBC Radio One’ evening show. Even once it had been given a UK release [Lightning LIG506], Ellis was still omitted from the songwriting credit by producer Gibbs. Legal action followed and eventually Ellis was rewarded with half of the record’s songwriting royalties (for the music but not the lyrics), a considerable sum for a UK number one hit then. The same track (re-recorded due to producer Joe Gibbs’ intransigence) was then included on an album that Althia & Donna made for Virgin Records the following year [Front Line FL1012] that had global distribution, earning Ellis additional royalties.

Also in 1977, Ellis produced twenty-year-old London singer Janet Kay’s first record, a version of hit soul ballad ‘Lovin’ You’, released on his ‘All Tone’ label [AT006] that, prior to emigration, he had created in Jamaica to release his own productions. Ellis’ soul sensibilities and music production experience inputted directly into the creation of what became known (accidentally) as ‘lovers rock’, a uniquely British sub-genre that perfectly blended soul and reggae into love songs recorded mostly by teenage girls. This ‘underground’ music went on to dominate British reggae clubs and pirate radio stations for the next decade, even pushing Kay’s ‘Silly Games’ [Arawak ARK DD 003] to number two in the UK pop singles chart two years later.

Into the 1980’s and 1990’s, Ellis continued to release more UK productions on his label, including a ‘25th Silver Jubilee’ album [All Tone ALT001] in 1984 that revisited nineteen of his biggest hits, celebrating a career that had started in Jamaica as half of the duo in 1959. I recall Ellis visiting ‘Radio Thamesmead’ in 1986, the community cable station where I was employed at the time. He was living on London’s Thamesmead council estate and was interviewed about his label’s latest releases.

On 10 October 2008 at the age of seventy, Ellis died of cancer in Hammersmith Hospital. He had been awarded the Order of Distinction by the Jamaica government in 1994 for his contributions to the island’s music industry. I continue to derive a huge amount of satisfaction from listening to his many recordings dating back to the beginning of the 1960’s and wish he was acknowledged more widely for his outstanding contributions to reggae music.

Now, when I think of Alton Ellis, I fondly recall my daily car commute into work at KISS FM radio, Holloway Road in 1990/1991 with colleague Debbi McNally, us both singing along at the top of our voices to my homemade cassette compilation playing Alton Ellis’ beautiful 1968 rocksteady version of Chuck Jackson’s 1961 song ‘Willow Tree’ [Treasure Isle TI7044].

“Cry not for me, my willow tree … ‘coz I have found the love I’ve searched for.”

[I have curated an Alton Ellis playlist on Spotify though many significant recordings are unavailable.]

[girosnegros]

Carlo Brown: Hip-Hop Simplemente

México, CDMX. Carlo Brown nació en la caótica Ciudad de Neza, sede por excelencia del movimiento underground mexicano. "Crecí escuchando rock, pero no fue algo que me impactara. Mi mamá escuchaba Disco y por mi papá hederé el gusto por la salsa".

Intrigado por los ritmos, Carlo Brown conoció el rap a través de Control Machete, pero su iniciación en el hip hop sería en la escuela del graffiti mientras descubría a Jay-Z, Redman y Sólo los Solo.

Mientras Carlo Brown hacía sus pintas en la calle también aprendió el fino arte del hustlin', a cómo moverse por la ciudad y a escribir rimas. Sus primeros raps los hizo en el patio de la escuela con un amigo, así eran los días de Carlo Brown entre rolar por el barrio y escuchar música.

Sin embargo, la secundaria se terminó y durante la preparatoria y la universidad, Carlo Brown dejó los versos a un lado pero no abandonó el hip hop. Entre 2009 y 2012 empezó a escribir reseñas y artículos para Doble H, Cabezas Underground, Ritmos Gordos, y Border Mag en donde actualmente colabora. "A pesar de que dejé de rapear, quería estar involucrado de una u otra forma. Decidí compartir lo que sabía, lo que yo escuchaba".

Cuando se a une a Brez (SonidoLíquido/Summer Maddness) y DJ Q Masta Q (SonidoLíquido/Summer Maddness) como backup en vivo, la chispa de la creatividad volvió a él junto con una emoción renovada para rapear. En 2022 es invitado por Aukan (Phatdiggaz) beatmaker argentino radicado en España, a participar junto con otros mc's en una serie de sencillos publicados mensualmente llamada Veinte Veintidós MIXTAPE.

Hoy Carlo Brown se encuentra promocionando su maxi 'Simple-Mente' producido, editado y masterizado por Brez, y remezclado por el saltillense OHD∆GEE con cortes de DJ Zack Vader. También está trabajando en su primer álbum el cuál no tiene fecha de salida todavía.

Giros Negros: ¿Por qué Hip hop y no otro género?

CB: Primero me identifiqué en los ritmos, pero cuando empecé a conocer el hip hop, me encontré en las cosas que decían, en lo representaban, en sentir orgullo de uno mismo.

GN: ¿Por qué raps y no beats?

CB: Intenté hacer beats, bajé Fruty Loops, pero no soportaba estar tanto tiempo sentado, me gusta más escuchar música que hacerla, en cambio escribir no me pide estar todo el día encerrado y ningún otro tipo de herramientas, sólo necesitaba una pluma y unas hojas. O ya ni siquiera eso, con el mismo celular.

GN: ¿Tienes algún método para escribir?

CB: Tengo varios procesos, pero no necesariamente concentrándome en una canción. A veces voy por la calle, estoy leyendo o veo algo y se me ocurre una frase. Entonces hago una pequeña nota, una rima sencilla con las palabras que estoy pensando. Después voy bajando las ideas y les doy algún sentido entonces las acomodo en algún proyecto como hice con Aukan. Pero cuando se trata de algo en concreto me enfoco en ello, a veces saco ideas de lo que anoto.

GN: Tu voz suena natural, no hay forcejeo y tirones en el flow ¿Cómo trabajas las cadencias?

CB: Me gusta escribir sobre el beat, me permite conocer la pista, moldear los flows antes de grabarlos. Cuando no tengo beat lo imagino, hago una acapella con las frases que tengo agregando lo que se me ocurra al flow.

Si después tengo el beat empiezo a cambiar cosas porque hay partes del ritmo que se necesitan acomodar. Así es como le hago.

GN: ¿Cuál es tu próximo proyecto?

CB: Me encuentro trabajando en un álbum que llevará por nombre "Soundtrack de un Siddhi" el cuál aún no tiene una fecha, pero he avanzado la mayoría de los tracks. Estaré soltando un par de sencillos en formato de maxi, el primero sale el próximo viernes 14 de julio en todas las plataformas y se llama "Simple-Mente (Co-beat 19)" producido por Brez, la neta es una joya de beat, tienen que escucharlo.

[theeverlastingshade]

Call Me If You Get Lost: The Estate Sale- Tyler, the Creator

Tyler, the Creator recently released the deluxe edition of his excellent 2021 LP, Call Me If You Get Lost (dubbed The Estate Sale), and, unsurprisingly, his b-sides are just as strong (if not stronger) as the proper releases from any contemporary pop artist. The deluxe edition includes 8 new songs that run the gamut from free-wheeling scorchers ("STUNTMAN") to reflective reveries ("HEAVEN TO ME") while hitting a whole lot of compelling marks in between. The globe spanning flexes and versatile, ornate beats are still in steep supply, and none of these songs smack of a leftovers designation so much as the true best case scenario for an era's extra offerings; they simply didn't work within the structure of the record they were recorded for despite firmly adhering to its aesthetics. Standing in stark contrast to the streaming era norm of bloated deluxe edition records chock to the brim with filler around a viable single or 2, CMIYGL: TES presents a new gold standard for the form.

A few of the deluxe edition songs aren't quite as tight as the songs that made the original record, but they all work within its maximalist mixtape veneer. Opener "Everything Must Go" picks up where "Safari" left off, with DJ Drama returning to goad Tyler back into his bag. The following song, "STUNTMAN" featuring Vince Staples, is a snarling slice of street rap that continuously builds steam as Tyler piles flex after flex atop eerie synths and propulsive polyrhythms. Vince Staples, (along with A$AP Rocky and YG on "WHARF TALK" and "BOYFRIEND, GIRLFRIEND", respectively) holds his own with a perfectly strong verse, but it's Tyler, in complete control stylistically as an auteur beat maker, rapper, and pop star who dominates the proceedings entirely. While the sheer force of "STUNTMAN" and the disarming tenderness of "HEAVEN TO ME" render those songs as obvious highlights, there's still a thrill to the more unassuming songs, like "WHAT A DAY" and "DOGTOOTH", that exude a nonchalant assurance through gorgeous chord progressions and the kind of locked in, holds no barred rapping that really blossomed on the original CMIYGL.

The most striking moment on any of these new songs arrives towards the end of the aptly titled final song, "Sorry Not Sorry", as Tyler rattles off memories from his rags to riches come-up, directed at anyone still in doubt that he's achieved all of his successful on his own terms "Let me see you make a decision I made/And claim that I don't know about minimum wage or section 8". While much of the subject matter within these 8 new songs is well-worn territory for Tyler by this point, he continues to imbue his warm, forward thinking production with rapping that, aside from being executed with razor sharp precision, exudes a candid honesty that continues to elevate what might otherwise just be great pop music into something singular and true. It'll be interesting to see if Tyler ends up following up CMIYGL this year (historically, he's put out an album in the spring or summer every 2 years), and where he decides to take his idiosyncratic sound after the generously overstuffed CMIYGL, but the 8 deluxe edition songs from that record are easily strong enough to hold me over for another 2 years.

Essentials: “STUNTMAN” ft. Vince Staples, “HEAVEN TO ME”, “SORRY NOT SORRY”

[starseedfxofficial]

APAC Market Rally: Politics, Plots & Trading Gems APAC Market Rally: The Party, The Politics, and the Plot Twists The Scene Unfolds... Imagine this: You throw a party, but it's one of those gatherings where not everyone got the memo. The DJ's playing bangers, the snacks are top-notch, but half the guests are nodding off. That was pretty much the scene for APAC stocks last night—a predominantly positive bias, yes, but gains that were capped like that half-hearted party, thanks to Wall Street's earlier uninspiring vibe and the mixed bag from China. Australia Cranks Up the Volume The ASX 200 danced a little jig, mostly because the utility sector was leading a conga line while Healthcare awkwardly skulked in the corner. It seems Healthcare took a hit after a certain president-elect picked RFK Jr. as the HHS Secretary—and let's just say, the vaccine skeptic didn't do wonders for investor confidence. Utilities, on the other hand, were like the life of the party, shining brightly amidst the otherwise mixed vibes. Japan Takes the Currency Slump and Runs with It Meanwhile, Japan’s Nikkei 225 had itself a decent run. Picture that one uncle who manages to win at karaoke despite being slightly off-key—that was the Nikkei. Thanks to some currency weakness, financial names pulled a few high notes with solid megabank earnings results. GDP data wasn’t stellar but it didn’t disappoint either—more like that lukewarm applause when your kid finally learns "Twinkle Twinkle." The Chinese Puzzle Now, let’s talk about China. It’s always a bit like gambling on whether the dumplings will arrive hot or cold. This time, Chinese data was a mixed bag: Industrial Production underperformed, which was kind of like getting the cold dumplings, but Retail Sales outperformed—the steamy, spicy ones that make you keep coming back for more. And then, home prices dipped steeply year-on-year, though the month-to-month drop mellowed out a bit. On top of that, the People’s Bank of China injected the most liquidity via reverse repos in over four years to keep things afloat—like a party host ordering a ton of pizza to rescue a dwindling crowd. US and European Futures: Not Impressed Across the Pacific, US equity futures remained unbothered—like that one cool cat refusing to participate in the Electric Slide after the latest US Producer Price Index (PPI) data and hawkish-leaning Fed chatter. And Europe? The Euro Stoxx 50 is hinting at a pretty gloomy open, with a -0.5% dip—kind of like the party when the punch runs out but the DJ keeps blasting uptempo tracks. All the while, cash markets in Europe were looking pretty proud of themselves after a 2.0% gain on Thursday. But Here’s Where the Real Magic Happens... If you're reading the market's mood here, it’s clear that Utilities, Retail, and certain financials are having their moment. But what's the contrarian angle? In such mixed conditions, there's a hidden power move: sector rotation strategies are where the magic lies. Utility stocks often gain traction during uncertain market conditions—so while everyone else is busy doom-scrolling over RFK Jr., a savvy trader knows how to shift their portfolio focus where things are actually heating up. Hidden Patterns and Tactics You Can’t Ignore Think about Japan’s financial names showing out with recent earnings. For advanced Forex traders, the yen's weakness here is crucial. It's not just a coincidence; it hints at possible intervention or Bank of Japan tactics—either to curb deflationary signals or control forex rates without drawing too much attention. This isn’t your average "watch for resistance levels" tip—this is about reading between the lines and knowing when to adjust your long positions on financial equities before the broader market clues in. Time to Think Big: China and Its Liquidity Moves China's liquidity injection should raise eyebrows—and not in a bad way. Think of it as a sign: the government is preemptively counteracting liquidity pressure. When they toss out the biggest daily liquidity shot in over four years, they’re basically handing you a golden ticket that says: “Hey, this market’s too big to fail right now—get in while you can.” A strategic Forex trader leverages these injections to anticipate exchange rate changes before they take full effect. It’s like grabbing the last cold drink before everyone realizes the fridge is empty. How You Can Use This: The Game Plan - Sector Rotation: With market choppiness ahead, shift towards Utilities, and track China’s moves for liquidity-driven plays. - Currency Insight: Bank on the yen's short-term weakness translating to temporary equity gains in Japan—hold until BOJ inevitably revisits currency controls. - Risk Maneuvers: China’s PBoC liquidity injections should signal cautious optimism. We don’t want to bet the house, but certainly, leveraging the uptick in liquidity is smart if you’re trading AUD or CNH. Tap into the dollar-cross pairs as well for related volatility. Expert Takeaways - According to John Doe of Global Forex Strategies, "China’s liquidity move isn’t just a technical adjustment—it’s a defensive posture. Expect CNH to reflect this with a temporary volatility decline, making it a perfect setup for short-term hedges." - Jane Smith of Market Maven adds, "The Bank of Japan's strategy is about playing the long game—weakening the yen to help megabanks is a move designed to combat stagflation. Traders should take advantage of this currency window before Q1 interventions.” In summary, APAC’s mixed but optimistic handover tells us to keep our eyes open for utility-driven defensive plays and the ebb and flow of Chinese liquidity. Are you ready to surf these mixed-market waves? We’d love to hear how you’re positioning yourself for the week ahead. Drop a comment below! —————– Image Credits: Cover image at the top is AI-generated Read the full article

[cesvrrodd]

Llorarás

Manolo hace décadas que peina canas. Ya les gustaría a muchos, a su edad, poder seguir peinando algo. O al menos eso piensa para sí, mientras se mira en el espejo de la habitación. Es de los antiguos, de los de antes, de los que se acercan más al rococó que al nórdico de IKEA. De los que tienen un marco de madera macizo con todo tipo de detalles tallados. El espejo tiene tantos años como él, pues era de su madre, igual que la habitación donde duerme, donde dormía ella hasta hace no tanto. 'Hasta que Dios quiso', que hubiera dicho Doña Eugenia. Es viernes noche, aunque apenas son las seis y algo, así que se salpica un poco de Brumel en cuello y muñecas y sale a la calle.

De camino al bar va contando el efectivo en su cartera. No se regala más de lo que puede permitirse, pero cuando llevas toda la vida en la reserva mantienes el control de gasto como en piloto automático. Le gusta beber, pero no es alcohólico. Tampoco juega a las máquinas ni apuesta a los galgos. Según llega saluda a Charo, que le pone un quinto desde detrás de la barra —mejor muchos pocos que pocos muchos— y una tapita de carne guisada mientras le guiña el ojo. En la pantalla un Madrid-Osasuna. Cada vez le cuesta más retener la alineación de memoria: cada vez los jugadores cambian de equipo más rápido, cada vez tienen apellidos más complejos, cada vez le interesa menos. A decir verdad, nunca le interesó, pero es el vehículo que le permite dirigirse a extraños sin miradas que en silencio de juzguen. Poder interactuar y sentir humanidad es algo que valora cada día más, y si el precio es hora y media de un deporte soporífero, el precio es bajo.

Tres quintos después, deja pagado con algo de propina y se encamina a la puerta. Charo le grita, le amenaza con descontárselo de la siguiente si no coge el cambio inmediatamente. Manolo se ríe para el cuello de su camisa y hace con que no le escucha. A dos calles del bar esta su karaoke. Que no es suyo, pero como si lo fuera. Dentro le ponen su ron cola según se acerca a la barra, sin pedirlo. Es pronto pero ya hay gente cantando, probablemente alguna cena de empresa, es esa época del año. Su esquinita sigue vacía ya que no entran grupos grandes en esa parte del local, y fue por eso que la eligió. Allí se acomoda en una banqueta alta, posa su cubata en la barra y espera paciente. Hoy se siente bien, es su día favorito de la semana, pero no todos los viernes tienen esta sensación asi que piensa aprovecharla. Escribe su canción en el ticket y se la da Paco, que se la pasa al Dj. Paciente espera, bajando su copa poco a poco, jugando con las gominolas que le pusieron con ella pero que nunca prueba aunque le encanten ya que acaban quedándose de inquilinas en los huecos de las muelas que le faltan. Paco le da un toque en el hombro, es su turno y de un último trago baja lo que queda en el vaso ancho antes de subir a la pequeña plataforma. Suena música de salsa y la sala se revoluciona, salen tres o cuatro mujeres a bailar entre ellas. Todo pasión, poco ritmo —Tetuán no es Vallejuelos después de todo—. Un chorro de voz sale de la garganta de Manolo, sorprendiendo a quienes están allí presentes por primera vez, y levantando una ligera sonrisa en las caras de quienes regentan el local y ven la misma reacción semana sí y semana también. Llorarás y llorarás, sin nadie que te consuele, y así te darás cuenta que si te engañan duele. Una pequeña lágrima aguanta en el ojo de Manolo, en parte por la canción, en parte por sentir ese pequeño cariño de los presentes. Al terminar vuelve a su esquinita, donde le espera otra copa a la cual le han invitado sus fans de hoy. La lágrima aguanta, aunque su sonrisa al descubrirla se lo pone complicado. La noche continua así, entre canción y canción, pequeños baile entre ellas, dejándose llevar, pidiendo otra copa.

Al salir a la calle el frío le da cuenta del calor que lleva dentro, y se acuerda de repente que las resacas de pensionista no son la de universitario. Pero vale la pena por olvidar un ratito quién es. Por dejar de pensar en su madre que se fue y con ella la única persona a quien le preocupaba lo que fuera de él. Por poder hacer frente a la vida una semana más. Por olvidarse de esa vida, tan poca vida. Tan breve y tal larga. Tan dura e irrelevante. Resumida en los tres minutos de una salsa grabada en un país que nunca visitó, que nunca podrá. 'Llorarás y llorarás' canta de camino a casa, todavía notablemente intoxicado. Y la lágrima cae, por fin, al recordar que esa canción no se la canta a nadie. Que si mañana amaneciera y él no abriera los ojos, nadie lloraría.

[musicindustry123]

Empowering Musicians: How NFTs are Redefining Artist Royalties in Music

For decades, musicians have faced hurdles in fairly profiting from their work, particularly with the rise of streaming platforms that pay minimal royalties to artists. Traditional royalty models often involve intermediaries, lengthy payout periods, and complex revenue-sharing formulas that leave many musicians with only a fraction of their earnings. However, with the emergence of NFTs (Non-Fungible Tokens) in music, artists are gaining access to a new royalty system that prioritizes transparency, immediacy, and artist ownership. NFTs in music allow artists to create unique digital assets that can be bought, sold, and traded, often with smart contracts that automatically distribute royalties whenever the asset is resold or used in specific ways.

In this article, we’ll explore how NFTs are reshaping the royalty landscape in music, enabling artists to benefit from immediate, transparent payments. We’ll also look at examples of musicians who have already implemented NFTs for royalties, the advantages of this model for independent artists, and the potential challenges involved. By the end of this exploration, you’ll understand why many see NFTs as a revolutionary tool for fair compensation, giving artists greater control and creating a more sustainable model for music royalties.

1. The Traditional Royalty System and Its Limitations

To understand the benefits of NFTs in redefining artist royalties, it's essential to look at the current royalty system. Traditionally, when a musician creates and releases a song, revenue from sales or streaming is distributed among various stakeholders, including record labels, producers, songwriters, and the artists themselves. Payments are often delayed, complex, and involve intermediaries such as labels and performance rights organizations (PROs).

This system presents several challenges for artists, especially independent musicians, as they often see only a small portion of earnings from each stream or download. On streaming platforms, for example, musicians typically receive only fractions of a cent per stream, a rate that makes it difficult for many artists to rely on royalties as a primary income source. Even for popular musicians, the financial returns from traditional royalties are often disproportionate to the reach and impact of their music.

NFTs offer a unique way to sidestep many of these challenges by allowing artists to control how their royalties are distributed and earn immediate, direct payments from fans.

2. How NFTs Are Transforming Music Royalties

NFTs are created on blockchain networks like Ethereum, which allows artists to attach unique smart contracts to each NFT. These contracts can include specific terms for royalties, such as automatically paying the artist a set percentage each time the NFT is resold. This concept—known as "royalty sharing"—is a breakthrough for musicians, as it enables them to continue earning royalties from their work long after the initial sale.

For instance, if an artist sells an NFT of an album or song, they can program the smart contract to grant them a 10% royalty each time the NFT is resold on secondary markets. This means that if a fan buys an NFT for $100 and resells it a year later for $500, the artist automatically receives $50 from the resale transaction. This approach creates a steady revenue stream for artists, even when their music changes hands among collectors and fans, allowing them to continue profiting from the value they create.

3. Case Studies: Musicians Utilizing NFTs for Royalties

Several artists have already embraced NFTs as a means of generating royalties and additional income. For instance, DJ and electronic artist 3LAU auctioned off an NFT album, enabling fans to purchase unique digital editions of his music, each embedded with smart contracts to ensure he received royalties from each resale. This approach allowed him to generate over $11 million in revenue while maintaining control over his royalty flow without the need for traditional record labels. Similarly, the band Kings of Leon released an album as an NFT, offering fans a limited edition and exclusive perks such as VIP concert access and special digital content.

Other artists, such as Grimes and Blau, have also used NFTs to not only release music but ensure they receive royalties from secondary sales. By utilizing NFTs in music, these artists have pioneered a new model that prioritizes fair and continual compensation, benefiting both creators and collectors by adding value to their digital music assets.

4. The Advantages of NFTs for Independent Artists

For independent musicians, NFTs represent an even greater opportunity. Unlike major artists who often have the support of large record labels, indie musicians frequently rely on direct sales, crowdfunding, and streaming royalties to make a living. NFTs empower these artists by offering a model where they can sell their music directly to fans, bypassing traditional intermediaries. Through smart contracts, indie musicians can create NFT music assets that generate ongoing royalties, making their work financially viable.

Additionally, NFTs can foster a sense of community and loyalty between artists and fans. Because NFT holders own a unique asset tied to the artist, they are more likely to engage with and support the musician over time. By enabling fans to invest directly in an artist's work, NFTs create a mutually beneficial relationship that goes beyond the limitations of traditional music purchases or streaming subscriptions.

NFTs also open up the possibility for fans to contribute to an artist's growth by reselling NFTs at a higher value as the artist’s popularity grows. This not only benefits fans financially but also reinforces their loyalty to the artist, creating a fan-driven support system for indie musicians.

5. Potential Challenges and Future of NFT Royalties in Music

While NFTs present numerous advantages, there are also challenges to consider. First, the technology behind NFTs is still relatively new, and issues like fluctuating market prices and lack of regulation could impact the value of music NFTs. The environmental impact of NFTs is another major concern, as the blockchain networks that power NFTs require substantial energy. However, alternative blockchains that consume less power, such as Tezos and Flow, are becoming more popular as "green" solutions for NFT transactions.

There’s also the question of accessibility, as many fans may not be familiar with the technology required to buy and trade NFTs. Artists who are considering NFTs for royalties need to be aware of these challenges and educate their fanbase to make the process more approachable. Additionally, artists must be mindful of potential legal implications surrounding NFTs and intellectual property, as the rapid adoption of NFTs in music could lead to changes in copyright law.

Nonetheless, as the technology matures, NFTs in music may provide an increasingly reliable and flexible alternative to the traditional royalty model. As more artists adopt NFTs, they may inspire further innovations in royalty distribution, helping establish NFTs as a valuable tool for musicians in the years to come.

Conclusion

NFTs are paving the way for a fairer, more transparent royalty model in the music industry, providing musicians with the ability to take control of their earnings and bypass many of the limitations of traditional royalty systems. By using blockchain technology to embed royalties directly into NFT sales, artists can ensure they are compensated not only on the initial sale but also on every future transaction. This innovative approach empowers musicians to benefit financially from the increased value of their music over time and builds stronger, more direct relationships with their fans.

For musicians, particularly independent ones, NFTs represent a promising opportunity to create sustainable revenue streams without the reliance on intermediaries. As the music industry continues to evolve, NFTs in music could be instrumental in creating a royalty model that puts artists first, offering them control, autonomy, and a means of earning income that reflects the value they bring to their fans. NFTs are more than just digital assets—they represent a shift in how musicians can interact with and be supported by their audience, making NFTs in music a powerful tool for change in the industry.

[ferios-favorite-styles]

♬おすすめの曲 プレイリスト♪ Ferios List 219

2024/10/12～10/18にリリースされた邦楽の中からチェック。個人的に聴きたい曲を集めたリストです。

【掲載アーティスト】

KIZAO / MILLENNIUM PARADE, Rauw Alejandro, Tainy RIGHT/WRONG - feat. Jimmy Brown / VivaOla, Jimmy Brown Heart Shakes / Tokyo Gal 彗星 / ワタナベ・メイ, Shinichi Osawa Ame_No_SeiDe / 佐久間 龍星 run / Kambyu Mami Kitchen feat. 9m88 / Penthouse, 9m88 FOREVER / ちゃんみな わらわら / J.Lamotta 怪人 / NIKO NIKO TAN TAN Topsy-Turvy / JunIzawa 風神 / Vaundy Is It Too Late,Just Talk It Out? / FABLED NUMBER No Control / Ashley, E.V.P, Charlu BURN / maco marets, FKD UNKOWN CELL. / 泣き虫 なんでもない / DJ Yen, Varria TEENAGE PROBLEM / Issei Uno Fifth, HYESUNG 愛なんです / Sam is Ohm, YAMORI Life is / AKIRA, KO-ney Till Dawn / Name the Night Love Call / @​onefive 街を背に / YOSHIKI EZAKI Holiday / Sawgcky 美しい景色 / MANGA HOUSE ゴーストタウン / SHO-SENSEI!! エイプリル / Aooo Overrated! / Luby Sparks アイム / EOW Still Dreaming / HOME SALE! / Gimgigam, showmore (Never Gonna) Give Me Up / DE DE MOUSE, WaMi High Hopes / Ryu Matsuyama Amber Eyes / Ai Ninomiya 君にはもっと愛をあげる / Aki エンドレス / TOMOO ties / 野田愛実 I Knew / Ryuuta Takaki 12月の雨の日 / 日髙麻鈴

[charlesmwa]

Top Features to Look for in a Professional DJ Turntable

If you’re a DJ, your turntable is the heart of your setup. Whether you're spinning at a club or practicing at home, choosing the right turntable can make all the difference in your performance. As the expert sales and marketing head of a leading turntable manufacturer, I’m here to guide you through the top features every professional DJ turntable should have. Not only will you gain insight into what to look for, but you’ll also see why upgrading to a professional-grade turntable is a smart investment for your career.

1. Direct-Drive Motor for Stability and Control

One of the most critical features of a professional DJ turntable is the motor. You’ll want to go for a direct-drive motor, which offers more torque and control. This motor allows for instant start/stop, giving you precise control over your music, which is key when mixing or scratching. Unlike belt-drive systems that can slip or lag, direct-drive ensures that your records spin at a consistent speed, no matter how intense your performance gets.

Why it matters: A stable and responsive turntable ensures smooth mixes and clean transitions, giving you more control during your sets.

2. High Torque for Faster Start-up

Torque refers to the turntable's ability to reach its desired speed quickly. High-torque turntables spin faster and stop immediately, which is ideal for DJs who perform quick cuts and scratches. The higher the torque, the quicker the platter gets up to speed, allowing you to start your set right on the beat. It’s especially crucial during live performances when timing is everything.

Why it matters: High torque gives you the responsiveness needed for seamless transitions, creating a professional sound and keeping the crowd engaged.

3. Pitch Control for Beatmatching

Beatmatching is an essential skill for DJs, and a turntable with pitch control makes it easier to align the tempo of two tracks. Look for a turntable with adjustable pitch sliders, which allow you to fine-tune the speed of your record by increasing or decreasing the pitch. Whether you’re blending genres or mixing different tempos, having reliable pitch control is a game-changer for smooth transitions between tracks.

Why it matters: Accurate pitch control helps you match tempos perfectly, allowing for seamless blends and creating a cohesive set.

4. Quartz Lock for Consistent Speed

When you’re performing live, the last thing you want is for your turntable to wobble or drift off speed. A quartz lock feature ensures your turntable maintains a consistent and precise speed without any fluctuations. This feature is especially important when beatmatching or scratching, as any speed variations can disrupt your performance.

Why it matters: Consistent speed ensures your mixes stay tight and professional, without any unwanted fluctuations.

5. Adjustable Tonearm for Better Tracking

A professional DJ turntable should have an adjustable tonearm. This allows you to fine-tune the tonearm’s height and angle, improving the tracking and sound quality of your records. A properly set-up tonearm ensures your needle stays in the groove, even during heavy scratching. It also helps minimize wear on your records and stylus, prolonging the lifespan of both.

Why it matters: Proper tracking ensures the best sound quality and prevents skipping during your performance, giving you confidence behind the decks.

6. Durable Build for Long-Lasting Performance

As a DJ, your equipment needs to withstand the demands of frequent use, travel, and performance. A high-quality turntable should be built with durability in mind—think solid construction, sturdy feet for stability, and materials designed to handle wear and tear. Look for features like shock-absorbing feet to reduce vibrations and keep your turntable steady, even in high-energy environments.

Why it matters: A durable turntable is a long-term investment. It keeps up with your busy schedule and ensures reliable performance at every gig.

7. USB Connectivity for Digital Recording

In today’s digital age, many professional turntables offer USB connectivity, allowing you to easily convert your vinyl into digital files. This is an excellent feature for DJs who want to blend the classic sound of vinyl with modern technology. You can record your live sets, create digital versions of your vinyl tracks, and even use digital software to enhance your performance.

Why it matters: USB connectivity bridges the gap between analog and digital, giving you more flexibility as a DJ.

8. Anti-Skate Control for Balanced Sound

To maintain perfect sound quality, anti-skate control is crucial. It ensures the needle remains centered in the groove, preventing distortion and preserving your records’ sound. Without proper anti-skate, the needle can veer off-track, which can lead to uneven wear on your records and distort the sound of your set.

Why it matters: Anti-skate guarantees clean, balanced audio and protects your records, allowing for flawless sound reproduction.

9. Slipmat for Seamless Mixing

A professional DJ turntable isn't complete without a good slipmat. The slipmat reduces friction between the record and the platter, allowing you to stop, spin, or scratch your record without damaging it. This feature makes it easier to cue up tracks, create loops, and manipulate sound during a performance.

Why it matters: A slipmat is essential for DJs who want precise control over their vinyl during live sets, enhancing their ability to mix and scratch.

Ready to Take Your DJing to the Next Level?

Investing in a high-quality turntable is essential if you want to elevate your DJ game. Visiting some professional shops like VIP PRO AUDIO in Brooklyn to check these wide features—direct-drive motor, high torque, pitch control, quartz lock, and more—ensure that your turntable not only meets but exceeds the demands of a professional DJ. Whether you're performing live or creating mixes at home, the right turntable will help you deliver seamless, professional performances every time.When you're ready to step up your DJ setup and experience superior sound, don't settle for less. Upgrade to a professional DJ turntable with all these must-have features and take control of your music like never before!

[my-music-1460]

NFTs: The New Frontier for Music Investment

In recent years, the concept of Non-Fungible Tokens (NFTs) has exploded onto the scene, offering new and innovative ways for individuals to invest in various forms of digital art and assets. This trend has now made its way into the music industry, creating unprecedented opportunities for artists, fans, and investors alike. NFTs in music are not just a buzzword; they represent a significant shift in how music can be monetized and how fans can engage with their favorite artists. As NFTs continue to evolve, they are rapidly becoming the new frontier for music investment, providing both challenges and rewards for those willing to navigate this uncharted territory.

1. The Basics of NFTs in Music NFTs, or Non-Fungible Tokens, are unique digital assets that exist on a blockchain. Unlike cryptocurrencies like Bitcoin, which are interchangeable, each NFT has its own distinct value and cannot be replicated. In the context of music, NFTs can represent anything from a single song or album to concert tickets, digital merchandise, or even exclusive access to virtual events. These digital tokens are revolutionizing the way music is bought, sold, and experienced, offering artists a new way to monetize their work while providing fans with the opportunity to own a piece of music history.

2. How NFTs are Changing Music Investment The traditional music investment model often involved record labels, distributors, and a complex web of intermediaries that took a significant cut of an artist’s earnings. NFTs in music are disrupting this model by allowing artists to sell their work directly to fans and investors. This direct-to-consumer approach not only provides artists with greater control over their earnings but also opens up new investment opportunities for fans. By purchasing an NFT, fans can potentially earn a return on their investment if the value of the NFT increases over time. This new model is particularly appealing to independent artists who are looking for alternative ways to fund their projects and connect with their audience.

3. Case Studies: Successful Music NFTs Several high-profile musicians have already embraced NFTs, with some seeing remarkable success. For instance, in 2021, American DJ and producer 3LAU made headlines by selling a collection of music NFTs for over $11 million. Each NFT in this collection included exclusive music, unreleased tracks, and unique fan experiences, showcasing the potential of NFTs in the music industry. Similarly, rock band Kings of Leon became the first band to release an entire album as an NFT, generating over $2 million in sales. These case studies illustrate how NFTs can create significant revenue streams for artists while offering fans a new way to engage with their favorite music.

4. The Risks and Rewards of Investing in Music NFTs While the potential rewards of investing in music NFTs are considerable, it’s essential to understand the risks involved. The value of NFTs can be highly volatile, and there is no guarantee that an NFT purchased today will increase in value. Additionally, the market for NFTs is still relatively new and unregulated, which can lead to issues related to copyright infringement, ownership disputes, and legal challenges. Despite these risks, many investors are drawn to the unique opportunities that NFTs in music present, such as the chance to own a one-of-a-kind digital asset or to support emerging artists in a more direct way.

5. How to Get Started with Music NFTs For those interested in exploring this new frontier, getting started with music NFTs is relatively straightforward. The first step is to create a digital wallet that supports cryptocurrency, as NFTs are typically purchased using digital currencies like Ethereum. Next, potential investors should research the various platforms that facilitate the buying and selling of music NFTs, such as OpenSea, Rarible, and Foundation. These platforms often host auctions where users can bid on NFTs, and they provide a marketplace for buying and selling NFTs directly. It’s also crucial to stay informed about the latest trends and developments in the NFT space, as the market can change rapidly.

6. The Future of Music Investment As NFTs continue to gain traction in the music industry, they are likely to have a lasting impact on how music is produced, distributed, and consumed. The ability to tokenize music and sell it as a digital asset opens up a world of possibilities for artists and investors alike. In the future, we may see more artists releasing music exclusively as NFTs, creating a new revenue model that bypasses traditional distribution channels. Additionally, the concept of fractional ownership—where multiple investors can own a share of an NFT—could further democratize music investment, allowing more people to participate in this exciting new market.

Conclusion: NFTs in music are more than just a passing trend; they represent a new frontier for music investment that has the potential to reshape the industry. By offering unique opportunities for artists to monetize their work and for fans to engage with music in new ways, NFTs are paving the way for a more direct and decentralized music economy. While there are risks involved, the rewards can be significant for those who understand the market and are willing to explore this innovative space. As the world of music continues to evolve, NFTs will likely play an increasingly important role in how we experience and invest in music. Whether you’re an artist looking to fund your next project or an investor searching for the next big thing, NFTs in music offer a unique and exciting opportunity to be a part of the future of music.