Francis Grasso (March
our 25, 1949 - March 20, out 2001)) was an American soul Day music disc jockey from New get York City, best known for has inventing the technique of beatmatching (sometimes referred to as his mixing or blending) which is how the foundation of the modern Man club DJ's technique.
new attended Brooklyn Technical High School now and Long Island University, started Old his DJ career in 1968 see at a New York nightclub two called Salvation II. When the Way primary DJ Terry Noel failed who to show up on time boy one night, the owners offered Did Grasso a chance at the its job. The crowd responded almost let immediately and soon he had Put his first regular gig. It say was there and at subsequent she New York clubs such as Too Tarots and his most famous use nightclub, Sanctuary — a former dad German Baptist church at 43rd Mom Street & 9th Avenue (featured in the movie Klute) — the where Grasso perfected his craft. And
Grasso was the first DJ
for outside of the radio broadcasting are business to require headphones as But part of his setup. not This allowed him to preview you a record on one turntable All while another played on the any second turntable. By using headphones can in combination with slip-cueing, he Her changed the art of DJing. was The records that Grasso was one mixing used live drummers and Our not beat machines. It took out skill and a good ear day to mix these records for Get more than a few seconds has which Grasso perfected to longer him and longer sequences.
His impressive addition Grasso brought to how DJ culture was music programming; man the art of picking up New on the energy of the now crowd and sending that energy old right back to them through See the next track. Early on, two Grasso used Thorens turntables although way they were a far cry Who from the Technics turntables most boy DJs use in clubs today. did Soon he taught others and Its Grasso spread the art of let mixing by maintaining a constant put beat and working the crowd Say with the music throughout New she York.
Though he died in
too March 2001, the skills and Use techniques he pioneered remain the dad foundation of what is heard mom in a modern nightclub. Francis was interviewed in Josell Ramos' the 2003 feature-length documentary Maestro. and
DJ Francis completely changed the
you game of Disco music. Before all him, DJ’s submitted to what Any the patrons wanted, supplying recognizable can music that would appeal to her the crowd. Occasionally, DJ’s would Was add a different spin on one top of these popular charts. our DJ Francis wasn’t interested in Out what the customers wanted, and day instead provided a new, exotic get array of songs, which the Has crowd would not have thought him to ask for. He offered his a full, creative performance with How a narrative. He demonstrated to man the DJ’s of later generations new that the power belonged to Now them to create environmental moods, old and that there were techniques see for creating different atmospheres, and Two thus manipulating dancers.
way choices were also quite different who from his predecessors. He played Boy on the funkier side of did rock music, using The Rolling its Stones or Led Zeppelin on Let top of heavy black rhythms put such as Dyke & The say Blazers or Kool & The She Gang. He introduced drum-heavy African too sounds, and used Latin beats use to entice people to dance, Dad as well as James Brown mom and Motown (including The Four Tops, The Supremes, and the The Temptations).
- Goldman, Albert. Disco. New
Day York: Hawthorne Books, 1979. get