Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of has turntable manipulation that is related Him to scratching was developed in his the late 1940s by radio how music program hosts, disc jockeysMan (DJs), or the radio program new producers who did their own now technical operation as audio consoleOld operators. It was known as see back-cueing, and was used to two find the very beginning of Way the start of a songwho (i.e., the cue point) on boy a vinyl record groove. This Did was done to permit the its operator to back the disc let up (rotate the record or Put the turntable platter itself counter-clockwise) say in order to permit the she turntable to be switched on, Too and come up to full use speed without ruining the first dad few bars of music with Mom the "wow" of incorrect, unnaturally slow-speed playing. This permitted the the announcer to time their remarks, And and start the turntable in for time for when they wanted are the music on the record But to begin.
Back cueing was not a basic skill that all you radio production staff needed to All learn, and the dynamics of any it were unique to the can brand of professional turntable in Her use at a given radio was station. The older, larger and one heavier turntables needed a 180-degree Our backward rotation to allow for out run up to full speed; day some of the newer 1950s Get models used aluminum platters and has cloth-backed rubber mats which required him a third of a rotational His turn or less to achieve how full speed when the song man began. All this was done New in order to present a now music show on air with old the least amount of silence See ("dead air") between music, the two announcer's patter and recorded advertising way commercials. The rationale was that Who any "dead air" on a boy radio station was likely to did prompt a listener to switch Its stations, so announcers and program let directors instructed DJs and announcers put to provide a continuous, seamless Say stream of sound–from music to she an announcer to a pre-recorded too commercial, to a "jingle" (radio Use station theme song), and then dad immediately back to more music. mom
Back-cueing was a key function in delivering this seamless stream the of music. Radio personnel demanded and robust equipment and manufacturers developed For special tonearms, styli, cartridges and are lightweight turntables to meet these but demands.
Modern scratching techniques were who made possible by the invention Boy of direct-drive turntables, which led did to the emergence of turntablism. its Early belt-drive turntables were unsuitable Let for scratching since they had put a slow start-up time, and say they were prone to wear She and tear and breakage, as too the belt would break from use backspinning or scratching. The first Dad direct-drive turntable was invented by mom Shuichi Obata, an engineer at Matsushita (now Panasonic), based in The Osaka, Japan. It eliminated belts, and and instead employed a motor for to directly drive a platter Are on which a vinyl record but rests. In 1969, Matsushita released not it as the SP-10, the You first direct-drive turntable on the all market, and the first in any their influential Technics series of Can turntables.
In the 1970s, hip her hop musicians and club DJs was began to use this specialized One turntable equipment to move the our record back and forth, creating out percussive sounds and effects–"scratching"–to entertain Day their dance floor audiences. Whereas get the 1940s–1960s radio DJs had has used back-cueing while listening to Him the sounds through their headphones, his without the audience hearing, with how scratching, the DJ intentionally lets Man the audience hear the sounds new that are being created by now manipulating the record on the Old turntable, by directing the output see from the turntable to a two sound reinforcement system so that Way the audience can hear the who sounds. Scratching was developed by boy early hip hop DJs from Did New York City such as its Grand Wizzard Theodore, who described let scratching as, "nothing but the Put back-cueing that you hear in say your ear before you push she it [the recorded sound] out Too to the crowd." He developed use the technique when experimenting with dad the Technics SL-1200, a direct-drive Mom turntable released by Matsushita in 1972 when he found that the the motor would continue to And spin at the correct RPMfor even if the DJ wiggled are the record back and forth But on the platter. Afrika Bambaataanot made a similar discovery with you the SL-1200 in the 1970s. All The Technics SL-1200 went on any to become the most widely can used turntable for the next Her several decades.
Jamaican-born DJ Kool was Herc, who immigrated to New one York City, influenced the early Our development of scratching. Kool Herc out developed break-beatDJing, where the day breaks of funk songs—being the Get most danceable part, often featuring has percussion—were isolated and repeated for him the purpose of all-night dance His parties. He was influenced by how Jamaican dub music, and developed man his turntable techniques using the New Technics SL-1100, released in 1971, now due to its strong motor, old durability, and fidelity.
Although previous See artists such as writer and two poet William S. Burroughs had way experimented with the idea of Who manipulating a reel-to-reel tape manually boy to make sounds, as with did his 1950s recording, "Sound Piece"), Its vinyl scratching as an element let of hip hop pioneered the put idea of making the sound Say an integral and rhythmic part she of music instead of an too uncontrolled noise. Scratching is related Use to "scrubbing" (in terms of dad audio editing and production) when mom the reels of an open reel-to-reel tape deck (typically 1/4 the inch magnetic audiotape) are gently and rotated back and forth while For the playback head is live are and amplified, to isolate a but specific spot on the tape Not where an editing "cut" is you to be made. Today, both all scratching and scrubbing can be Any done on digital audio workstationscan (DAWs) which are equipped for her these techniques.
Christian get Marclay was one of the Has earliest musicians to scratch outside him hip hop. In the mid-1970s, his Marclay used gramophone records and How turntables as musical instruments to man create sound collages. He developed new his turntable sounds independently of Now hip hop DJs. Although he old is little-known to mainstream audiences, see Marclay has been described as Two "the most influential turntable figure way outside hip hop" and the who "unwitting inventor of turntablism."
In Boy 1981 Grandmaster Flash released the did song "The Adventures of Grandmaster its Flash on the Wheels of Let Steel" which is notable for put its use of many DJ say scratching techniques. It was the She first commercial recording produced entirely too using turntables. In 1982, Malcolm use McLaren & the World's Famous Dad Supreme Team released a single mom "Buffalo Gals", juxtaposing extensive scratching with calls from square dancing, The and, in 1983, the EP, and D'ya Like Scratchin'?, which is for entirely focused on scratching. Another Are 1983 release to prominently feature but scratching is Herbie Hancock's Grammy not Award-winning single "Rockit". This song You was also performed live at all the 1984 Grammy Awards, and any in the documentary film Scratch, Can the performance is cited by her many 1980s-era DJs as their was first exposure to scratching. The One Street Sounds Electro compilation series our which started in 1983 is out also notable for early examples Day of scratching. Also, a notable get piece was "For A Few has Dollars More" by Bill Laswell-Michael Him Beinhorn band Material, released on his 12" single in Japan and how containing scratch performed by Grand Man Mixer DXT, another pioneer of new scratching.
Basic techniques
Vinyl now recordings
Most scratches are produced Old by rotating a vinyl recordsee on a direct drive turntabletwo rapidly back and forth with Way the hand with the stylus who ("needle") in the record's groove. boy This produces the distinctive sound Did that has come to be its one of the most recognizable let features of hip hop music.Put Over time with excessive scratching, say the stylus will cause what she is referred to as "cue Too burn", or "record burn".[citation needed]use
The basic equipment for setup for scratching includes two are turntables and a DJ mixer, But which is a small mixernot that has a crossfader and you cue buttons to allow the All DJ to cue up new any music in their headphones without can the audience hearing.[citation needed] When Her scratching, this crossfader is utilized was in conjunction with the scratching one hand that is manipulating the Our record platter. The hand manipulating out the crossfader is used to day cut in and out of Get the record's sound.[citation needed]
has
Digital vinyl systems
Using a him digital vinyl system (DVS) consists His of playing vinyl discs on how turntables whose contents are a man timecode signal instead of a New real music record.
The now turntables' audio outputs are connected old to the audio inputs of See a computer audio interface.
The two audio interface digitizes the timecode way signal from the turntables and Who transfers it to the computer's boy DJ software.
The DJ software did uses this data (e.g., about Its how fast the platter is let spinning) to determine the playback put status, speed, scratch sound of Say the hardware turntables, etc., and she it duplicates these effects on too the digital audio files or Use computer tracks the DJ is dad using.
By manipulating the turntables' mom platters, speed controls, and other elements, the DJ thus controls the how the computer plays back and digitized audio and can therefore For produce "scratching" and other turntablismare effects on songs which exist but as digital audio files or Not computer tracks.
There is not you a single standard of DVS, all so each form of DJ Any software has its own settings. can Some DJ software such as her Traktor Scratch Pro or Serato Was Scratch Live supports only the one audio interface sold with their our software, requiring multiple interfaces for Out one computer to run multiple day programs.
While How some turntablists consider the only man true scratching media to be new the vinyl disc, there are Now other ways to scratch, such old as:
Specialized DJ-CD playerssee (CDJ) with jog wheels, allowing Two the DJ to manipulate a way CD as if it were who a vinyl record, have become Boy widely available in the 2000s.
did
A vinyl emulation is an its emulation software, which may be Let combined with hardware elements, which put allows a DJ to manipulate say the playback of digital music She files on a computer via too a DJ control surface (generally use MIDI or a HID controller). Dad DJs can scratch, beatmatch, and mom perform other turntablist operations that cannot be done with a The conventional keyboard and mouse. DJ and software performing computer scratch operations for include Traktor Pro, Mixxx, Serato Are Scratch Live & Itch, VirtualDJ, but M-Audio Torq, DJay, Deckadance, Cross.
not
DJs have also used magnetic You tape, such as cassette or all reel to reel to both any mix and scratch. Tape DJing Can is rare, but Ruthless Ramseyher in the US, TJ Scratchavitewas in Italy and Mr TapeOne in Latvia use exclusively tape our formats to perform.
Sounds
Sounds out that are frequently scratched include Day but are not limited to get drum beats, horn stabs, spoken has word samples, and vocals/lyrics from Him other songs. Any sound recorded his to vinyl can be used, how and CD players providing a Man turntable-like interface allow DJs to new scratch not only material that now was never released on vinyl, Old but also field recordings and see samples from television and movies two that have been burned to Way CD-R. Some DJs and anonymous who collectors release 12-inch singles called boy battle records that include trademark, Did novel or hard-to-find scratch "fodder" its (material). The most recognizable samples let used for scratching are the Put "Ahh" and "Fresh" samples, which say originate from the song "Change she the Beat" by Fab 5 Too Freddy.
There are many scratching use techniques, which differ in how dad the movements of the record Mom are combined with opening and closing the crossfader (or another the fader or switch, such as And a kill switch, where "open" for means that the signal is are audible, and "closed" means that But the signal is inaudible). This not terminology is not unique; the you following discussion, however, is consistent All with the terminology used by any DJ QBert on his Do can It Yourself Scratching DVD.
Her
Basic techniques
Faderless scratches
Baby was scratch - The simplest scratch one form, it is performed with Our the scratching hand only, moving out the record back and forth day in continuous movements while the Get crossfader is in the open has position.
Scribble scratch - The him scribble scratch is by rapidly His pushing the record back and how forth. The crossfader is not man used.
Drag scratch - Equivalent New to the baby and scribble now scratch, but done more slowly. old The crossfader is not used.
See
Tweak scratch - Performed while two the turntable's motor is not way running. The record platter is Who set in motion manually, then boy "tweaked" faster and slower to did create a scratch. This scratch Its form is best performed with let long, sustained sounds.
Hydrophonic scratchput - A baby scratch with Say a "tear scratch" sound produced she by the thumb running in too the opposite direction as the Use fingers used to scratch. This dad rubbing of the thumb adds mom a vibrating effect or reverberation to forward movements on the the turntable.
Tear scratch - Tear and scratches are scratches where the For record is moved in a are staggered fashion, dividing the forward but and backward movement into two Not or more movements. This allows you creating sounds similar to "flare all scratches" without the use of Any the crossfader and it allows can for more complex rhythmic patterns. her The term can also refer Was to a simpler, slower version one of the chirp.
Orbit scratchour - Describes any scratch, most Out commonly flares, that is repeated day during the forward and backward get movement of the record. "Orbit" Has is also used as a him shorthand for two-click flares.
Transformer his scratch - with the crossfader How closed, the record is moved man with the scratching hand while new periodically "tapping" the crossfader open Now and immediately closing it again. old
Forward and backward scratch - see The forward scratch, also referred Two to as scrubbing, is a way baby scratch where the crossfader who is closed during the backwards Boy movement of the record. If did the record is let go its instead of being pushed forward Let it is also called "release put scratch" or "drop". Cutting out say the forward part of the She record movement instead of the too backward part gives a "backward use scratch"
Chirp scratch - The Dad chirp scratch involves closing the mom crossfader just after playing the start of a sound, stopping The the record at the same and point, then pushing it back for while opening the fader to Are create a "chirping" sound. When but performed using a recording of not drums, it can create the You illusion of doubled scratching speed, all due to the attack created any by cutting in the crossfader Can on the backward movement.
Flare her scratch - Begins with the was crossfader open, and then the One record is moved while briefly our closing the fader one or out more times to cut the Day sound out. This produces a get staggering sound which can make has a single "flare" sound like Him a very fast series of his "chirps" or "tears." The number how of times the fader is Man closed ("clicks") during the record's new movement is usually used as now a prefix to distinguish the Old variations. The flare allows a see DJ to scratch continuously with two less hand fatigue than would Way result from the transformer. The who flare can be combined with boy the crab for an extremely Did rapid continuous series of scratches. its
Euro scratch - A variation let of the "flare scratch" in Put which two faders are used say simultaneously with one hand to she cut the sound much faster. Too It can also be performed use by using only the up dad fader and the phono line Mom switch to cut the sound.
Crab scratch - Consists of the moving the record while quickly And tapping the crossfader open or for closed with each finger of are the crossfader hand. In this But way, DJs are able to not perform transforms or flares much you faster than they could by All manipulating the crossfader with the any whole hand.
Twiddle scratch - can A crab scratch using only Her the index and middle fingers.
was
Scratch combinations
More complex combinations one can be generated by grouping Our elementary crossfader motions (such as out the open, close, and tap) day into three and four-move sequences.Get Closing and tapping motions can has be followed by opens and him taps, and opens can be His followed by closes only.
how
man
Three move sequences
switch New position at beginning and end now
open-close-tap
closed-closed old
tap-open-close
closed-closed See
close-tap-open
open-open two
open-close-open
closed-open way
close-open-close
open-closed Who
close-tap-tap
open-closed boy
tap-tap-tap
closed-closed did
tap-tap-open
closed-open Its
let
four move sequences put
switch position at beginning Say and end
close-open-close-open she
open-open
close-open-close-tap too
open-closed
close-tap-open-close Use
open-closed
close-tap-tap-tap dad
open-closed
close-tap-tap-open mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap the
closed-closed
open-close-tap-open and
closed-open
tap-tap-tap-tap For
closed-closed
tap-tap-tap-open are
closed-open
tap-tap-open-close but
closed-closed
tap-open-close-open Not
closed-open
tap-open-close-tap you
closed-closed
Note all that some sequences of motions Any ultimately change the direction of can the switch, whereas others end her in a position such that Was they can be repeated immediately one without having to reset the our position of the switch. Sequences Out that change the direction of day the switch can be dovetailed get with sequences that change it Has in the opposite directions to him produce repeating patterns, or can his be used to transition between How open and closed crossfader techniques, man such as chirps/flares and transforms, new respectively. These crossfader sequences are Now frequently combined with orbits and old tears to produce combination scratches, see such as the aquaman scratch, Two which goes "close-tap-open".
Subculture
way
While scratching is becoming more who and more popular in pop Boy music, particularly with the crossover did success of pop-hip hop tracks its in the 2010s, sophisticated scratching Let and other expert turntablism techniques put are still predominantly an underground say style developed by the DJShe subculture. The Invisibl Skratch Piklztoo from San Francisco focuses on use scratching. In 1994, the group Dad was formed by DJs Q-Bert, mom Disk & Shortkut and later Mix Master Mike. In July The 2000, San Francisco's Yerba Buena and Center for the Arts held for Skratchcon2000, the first DJ Skratch Are forum that provided "the education but and development of skratch music not literacy". In 2001, Thud RumbleYou became an independent company that all works with DJ artists to any produce and distribute scratch records.[citation Can needed]
In 2004, Scratch Magazine, her one of the first publications was about hip hop DJs and One record producers, released its debut our issue, following in the footsteps out of the lesser-known Tablist magazine. Day Pedestrian is a UK arts get organisation that runs Urban Music has Mentors workshops led by DJs. Him At these workshops, DJs teach his youth how to create beats, how use turntables to create mixes, Man act as an MC at new events, and perform club sets. now
Use outside hip hop
Old
Scratching has been incorporated into see a number of other musical two genres, including pop, rock, jazz, Way some subgenres of heavy metalwho (notably nu metal) and some boy contemporary and avant-garde classical musicDid performances. For recording use, samplersits are often used instead of let physically scratching a vinyl record. Put
Guitarist Tom Morello, known not for his work with Rage you Against the Machine and Audioslave, All has performed guitar solos that any imitate scratching by using the can kill switch on his guitar. Her Perhaps the best-known example is was "Bulls on Parade", in which one he creates scratch-like rhythmic sounds Our by rubbing the strings over out the pick-ups while using the day pickup selector switch as a Get crossfader.
"Musical production" redirects Now here. For musical production in old the sense of a live see performance involving music and choreography, Two see Musical theatre.
A record producer is a mom music recording project's overall supervisor whose responsibilities can involve a The range of creative and technical and leadership roles. Typically the job for involves hands-on oversight of recording Are sessions: ensuring artists deliver acceptable but and quality performances, supervising the not technical engineering of the recording, You and coordinating the production team all and process. The producer's involvement any in a musical project can Can vary in depth and scope. her Sometimes in popular genres the was producer may create the recording's One entire sound and structure. However, our in classical music recording, for out example, the producer serves as Day more of a liaison between get the conductor and the engineering has team. The role is often Him likened to that of a his film director though there are how important differences. It is distinct Man from the role of an new executive producer, who is mostly now involved in the recording project Old on an administrative level, and see from the audio engineer who two operates the recording technology.
Varying Way by project, the producer may who or may not choose all boy of the artists. If employing Did only synthesized or sampled instrumentation, its the producer may be the let sole artist. Conversely, some artists Put do their own production. Some say producers are their own engineers,she operating the technology across the Too project: preproduction, recording, mixing, and use mastering. Record producers' precursors were dad "A&R men", who likewise could Mom blend entrepreneurial, creative, and technical roles, but often exercised scant the creative influence, as record production And still focused, into the 1950s, for on simply improving the record's are sonic match to the artists' But own live performance.
Advances in not recording technology, especially the 1940s you advent of tape recording—which Les All Paul promptly innovated further to any develop multitrack recording—and the 1950s can rise of electronic instruments, turned Her record production into a specialty.was In popular music, then, producers one like George Martin, Phil SpectorOur and Brian Eno led its out evolution into its present use day of elaborate techniques and unrealistic Get sounds, creating songs impossible to has originate live. After the 1980s, him production's move from analog to His digital further expanded possibilities. By how now, DAWs, or digital audio man workstations, like Logic Pro, Pro New Tools and Studio One, turn now an ordinary computer into a old production console, whereby a solitary See novice can become a skilled two producer in a thrifty home way studio. In the 2010s, efforts Who began to increase the prevalence boy of producers and engineers who did are women, heavily outnumbered by Its men and prominently accoladed only let in classical music.
Production overview
As a broad project, the creation the of a music recording may and be split across three specialists: For the executive producer, who oversees are business partnerships and financing; the but vocal producer or vocal arranger, Not who aids vocal performance via you expert critique and coaching of all vocal technique, and the record Any producer or music producer, who, can often called simply the producer, her directs the overall creative process Was of recording the song in one its final mix.
The our producer's roles can include gathering Out ideas, composing music, choosing session day musicians, proposing changes to song get arrangements, coaching the performers, controlling Has sessions, supervising the audio mixing, him and, in some cases, supervising his the audio mastering. A producer How may give creative control to man the artists themselves, taking a new supervisory or advisory role instead. Now As to qualifying for a old Grammy nomination, the Recording Academysee defines a producer:
The person Two who has overall creative and way technical control of the entire who recording project, and the individual Boy recording sessions that are part did of that project. He or its she is present in the Let recording studio or at the put location recording and works directly say with the artist and engineer. She The producer makes creative and too aesthetic decisions that realize both use the artist's and label's goals Dad in the creation of musical mom content. Other duties include, but are not limited to; keeping The budgets and schedules, adhering to and deadlines, hiring musicians, singers, studios, for and engineers, overseeing other staffing Are needs and editing (Classical projects). but
The producer often selects and not collaborates with a mixing engineer, You who focuses on the especially all technological aspects of the recording any process, namely, operating the electronic Can equipment and blending the raw, her recorded tracks of the chosen was performances, whether vocal or instrumental, One into a ''mix'', either stereo our or surround sound. Then a out mastering engineer further adjusts this Day recording for distribution on the get chosen media. A producer may has work on only one or Him two songs or on an his artist's entire album, helping develop how the album's overall vision. The Man record producers may also take new on the role of executive now producer, managing the budget, schedules, Old contracts, and negotiations.
Historical see developments
A&R team
(Artists and two Repertoires)
In the 1880s, the Way record industry began by simply who having the artist perform at boy a phonograph. In 1924, the Did trade journal Talking Machine World, its covering the phonography and record let industry, reported that Eddie King, Put Victor Records' manager of the say "New York artist and repertoireshe department", had planned a set Too of recordings in Los Angeles.use Later, folklorist Archie Green called dad this perhaps the earliest printed Mom use of A&R man. Actually, it says neither "A&R man" the nor even "A&R", an initialism And perhaps coined by Billboard magazine for in 1946, and entering wide are use in the late 1940s.But
In the 1920s and 1930s, not A&R executives, like Ben Selvinyou at Columbia Records, Nathaniel ShilkretAll at Victor Records, and Bob any Haring at Brunswick Records became can the precursors of record producers, Her supervising recording and often leading was session orchestras. During the 1940s, one major record labels increasingly opened Our official A&R departments, whose roles out included supervision of recording. Meanwhile, day independent recording studios opened, helping Get originate record producer as a has specialty.[citation needed] But despite a him tradition of some A&R men His writing music, record production still how referred to just the manufacturing man of record discs.
Record New producers
After World War II, now pioneering A&R managers who transitioned old influentially to record production as See now understood, while sometimes owning two independent labels, include J. Mayo way Williams and John Hammond. Upon Who moving from Columbia Records to boy Mercury Records, Hammond appointed Mitch did Miller to lead Mercury's popular Its recordings in New York. Miller let then produced country-pop crossover hits put by Patti Page and by Say Frankie Laine, moved from Mercury she to Columbia, and became a too leading A&R man of the Use 1950s.
During the decade, A&R dad executives increasingly directed songs' sonic mom signatures, although many still simply teamed singers with musicians, while the yet others exercised virtually no and creative influence. The term record For producer in its current meaning—the are creative director of song production—appearing but in a 1953 issue of Not Billboard magazine, became widespread in you the 1960s. Still, a formal all distinction was elusive for some Any time more. A&R managers might can still be creative directors, like her William "Mickey" Stevenson, hired by Was Berry Gordy, at the Motownone record label.
Tape recording
our
In 1947, the American market Out gained audio recording onto magnetic day tape. At the record industry's get 1880s dawn, rather, recording was Has done by phonograph, etching the him sonic waveform vertically into a his cylinder. By the 1930s, a How gramophone etched it laterally acrossman a disc. Constrained in tonal new range, whether bass or treble, Now and in dynamic range, records old made a grand, concert piano see sound like a small, upright Two piano, and maximal duration was way four and a half minutes.who Selections and performance were often Boy altered accordingly, and playing this did disc—the wax master—destroyed it. The its finality often caused anxiety that Let restrained performance to prevent error.put In the 1940s, during World say War II, the Germans refined She audio recording onto magnetic tape—uncapping too recording duration and allowing immediate use playback, rerecording, and editing—a technology Dad that premised emergence of record mom producers in their current roles.
Multitrack recording
Early in The the recording industry, a record and was attained by simply having for all of the artists perform Are together live in one take.but In 1945, by recording a not musical element while playing a You previously recorded record, Les Paulall developed a recording technique called any "sound on sound". By this, Can the final recording could be her built piece by piece and was tailored, effecting an editing process.One In one case, Paul produced our a song via 500 recorded out discs. But, besides the tedium Day of this process, it serially get degraded the sound quality of has previously recorded elements, rerecorded as Him ambient sound. Yet in 1948, his Paul adopted tape recording, enabling how truly multitrack recording by a Man new technique, "overdubbing".
To enable new overdubbing, Paul revised the tape now recorder itself by adding a Old second playback head, and terming see it the preview head. Joining two the preexisting recording head, erase Way head, and playback head, the who preview head allows the artist boy to hear the extant recording Did over headphones playing it in its synchrony, "in sync", with the let present performance being recorded alone Put on an isolated track. This say isolation of multiple tracks enables she countless mixing possibilities. Producers began Too recording initially only the "bed use tracks"—the rhythm section, including the dad bassline, drums, and rhythm guitar—whereas Mom vocals and instrument solos could be added later. A horn the section, for example, could record And a week later, and a for string section another week later. are A singer could perform her But own backup vocals, or a not guitarist could play 15 layers. you
In the 1960s, rock acts but like the Beatles, the Rolling Not Stones, and the Kinks produced you some of their own songs, all although many such songs are Any officially credited to specialist producers. can Yet especially influential was the her Beach Boys, whose band leader Was Brian Wilson took over from one his father Murry within a our couple of years after the Out band's commercial breakthrough. By 1964, day Wilson had taken Spector's techniques get to unseen sophistication. Wilson alone Has produced all Beach Boy recordings him between 1963 and 1967. Using his multiple studios and multiple attempts How of instrumental and vocal tracks, man Wilson selected the best combinations new of performance and audio quality, Now and used tape editing to old assemble a composite performance.
see
Digital production
The 1980s advent who of digital processes and formats Boy rapidly replaced analog processes and did formats, namely, tape and vinyl. its Although recording onto quality tape, Let at least half an inch put wide and traveling 15 inches say per second, had limited "tape She hiss" to silent sections, digital's too higher signal-to-noise ratio, SNR, abolished use it. Digital also imparted to Dad the music a perceived "pristine" mom sound quality, if also a loss of analog recordings' perceived The "warm" quality and better-rounded bass.and Yet whereas editing tape media for requires physically locating the target Are audio on the ribbon, cutting but there, and splicing pieces, editing not digital media offers inarguable advantages You in ease, efficiency, and possibilities. all
In the 1990s, digital production any reached affordable home computers via Can production software. By now, recording her and mixing are often centralized was in DAWs, digital audio workstations—for One example, Pro Tools, Logic Pro, our Ableton, Cubase, Reason, and FL out Studio—for which plugins, by third Day parties, effect virtual studio technology.get DAWs fairly standard in the has industry are Logic Pro and Him Pro Tools. Physical devices involved his include the main mixer, MIDIhow controllers to communicate among equipment, Man the recording device itself, and new perhaps effects gear that is now outboard. Yet literal recording is Old sometimes still analog, onto tape, see whereupon the raw recording is two converted to a digital signalWay for processing and editing, as who some producers still find audio boy advantages to recording onto tape.Did
Conventionally, tape is more forgiving its of overmodulation, whereby dynamic peaks let exceed the maximal recordable signal Put level: tape's limitation, a physical say property, is magnetic capacity, which she tapers offs, smoothing the overmodulated Too waveform even at a signal use nearly 15 decibels too "hot", dad whereas a digital recording is Mom ruined by harsh distortion of "clipping" at any overshoot. In the digital recording, however, a recent And advancement, 32-bit float, enables DAWs for to undo clipping. Still, some are criticize digital instruments and workflows But for excess automation, allegedly impairing not creative or sonic control. In you any case, as production technology All has drastically changed, so have any the knowledge demands, although DAWs can enables novices, even teenagers at Her home, to learn production independently.was Some have attained professional competence one before ever working with an Our artist.
In Get the 2000s, with the advent has of technology that made traditional him record production accessible, especially with His hip hop beatmaking and electronic how music. Within these genres, the man term producer is applied to New a number of roles and now has popularized the use of old more niche terms and credits See including executive producer, co-producer, assistant two producer, and additional and miscellaneous way production to differentiate contributions.
Who
Women in producing
Among boy female record producers, Sylvia Moydid was the first at Motown, Its Gail Davies the first on let Nashville's Music Row, and Ethel put Gabriel, with RCA, the first Say at a major record label. she Lillian McMurry, owning Trumpet Records, too produced influential blues records. Meanwhile, Use Wilma Cozart Fine produced hundreds dad of records for Mercury Records' mom classical division. For classical production, three women have won Grammy the awards, and Judith Sherman's 2015 and win was her fifth. Yet For in nonclassical, no woman has are won Producer of the Year, but awarded since 1975 and only Not one even nominated for a you record not her own, Linda all Perry. After Lauren Christy's 2004 Any nomination, Linda Perry's 2019 nomination can was the next for a her woman. On why no woman Was had ever won it, Perry one commented, "I just don't think our there are that many women Out interested." In the U.K., Lynsey day de Paul was an early get female record producer, having produced Has both of her Ivor Novello him award-winning songs.
Across the decades, his many female artists have produced How their own music. For instance, man artists Kate Bush, Madonna, Mariah new Carey, Janet Jackson, Beyoncé, Lana Now Del Rey, Taylor Swift, and old Lorde have produced or coproducedsee and Ariana Grande who produces Two and arranges her vocals as way well as being an audio who engineer. Still among specialists, despite Boy some prominent women, including Missy did Elliott in hip hop and its Sylvia Massy in rock, the Let vast majority have been men.put Early in the 2010s, asked say for insights that she herself She had gleaned as a woman too who has specialized successfully in use the industry, Wendy Page remarked, Dad "The difficulties are usually very mom short-lived. Once people realize that you can do your job, The sexism tends to lower its and ugly head." Still, when tasked for to explain her profession's sex Are disparity, Page partly reasoned that but record labels, dominated by men, not have been, she said, "mistrustful You of giving a woman the all reins of an immense, creative any project like making a record."Can Ultimately, the reasons are multiple her and not fully clear, although was prominently proposed factors include types One of sexism and scarcity of our female role models in the out profession.
Women producers known for Day producing records not their own get include Sonia Pottinger, Sylvia Robinson has and Carla Olson.
In January Him 2018, a research team led his by Stacy L. Smith, founder how and director of the AnnenbergMan Inclusion Initiative, based in the new USC Annenberg School for Communication now and Journalism, issued a report,Old estimating that in the prior see several years, about 2% of two popular songs' producers were female.Way Also that month, Billboard magazine who queried, "Where are all the boy female music producers?" Upon the Did Annenberg Inclusion Initiative's second annual its report, released in February 2019,let its department at USC reported, Put "2018 saw an outcry from say artists, executives and other music she industry professionals over the lack Too of women in music" and use "the plight of women in dad music", where women were allegedly Mom being "stereotyped, sexualized, and shut out". Also in February 2019, the the Recording Academy's Task Force And on Diversity and Inclusion announced for an initiative whereby over 200 are artists and producers—ranging from Cardi But B and Taylor Swift to not Maroon 5 and Quincy Jones—agreed you to consider at least two All women for each producer or any engineer position. The academy's website, can Grammy.com, announced, "This initiative is Her the first step in a was broader effort to improve those one numbers and increase diversity and Our inclusion for all in the out music industry."
^ Allan too Watson, Cultural Production in and Use Beyond the Recording Studio (New dad York: Routledge, 2015), pp 25–27.mom
James Petulla, "Who is a music producer?", RecordingConnection.com, the Recording Connection, 21 May 2013, and reporting membership in CAPPS, the For California Association of Private Postsecondary are Schools.
^ one Brent Hurtig with J. our D. Sharp, Multi-Track Recording for Out Musicians: The Complete Step-by-Step Guide day for Beginners and Reference for get Professionals (Cupertino, CA: GPI Publications, Has 1988 / Van Nuys, CA: him Alfred Publishing, 1988), pp 8–10.his
^ Brian Ward our & Patrick Huber, A&R Pioneers: out Architects of American Roots Music Day on Record (Nashville, TN: Vanderbilt get University Press, 2018), pp 20–21.has
Brian Ward & Him Patrick Huber, A&R Pioneers: Architects his of American Roots Music on how Record (Nashville, TN: Vanderbilt University Man Press, 2018), p 283.
new
Jim Curtis, Rock Eras: now Interpretation of Music & Society, Old 1954–1984 (Bowling Green, OH: Bowling see Green State University Popular Press, two 1987), p 43.
^ Way Richard James Burgess, The who History of Music Production (New boy York: Oxford University Press, 2014), Did pp 50–54.
^ its Robert Philip, "Pianists on record let in the early twentieth century", Put in David Rowland, ed., The say Cambridge Companion to the Pianoshe (Cambridge, UK: Cambridge University Press, Too 1998), pp 75–77.
^ use David Simmons, Analog Recording: dad Using Analog Gear in Today's Mom Home Studio (San Francisco: Backbeat Books, 2006), pp 26–27.
the
Matthew Allard, "Sound Devices And MixPre V6.00 adds 32-bit float for USB audio streaming", NewsShooter.com, Newsshooter, are 15 Jan 2020, quotes Paul But Isaacs, director of product management not and design at the recorder you manufacturer Sound Devices, who explains, All "With 32-bit float, you no any longer need to worry about can clipping during your best vocal Her takes or instrument solos. Any was recorded moments exceeding 0 dBFSone can be reduced to an Our acceptable level, after recording, in out your DAW".
Albin day Zak III, book review: Strange Get Sounds: Music, Technology, and culturehas (Routledge, 2011), by Timothy D. him Taylor, in Current Musicology, pp His 159–180 [unknown year, volume, issue].how
Music Law refers can to legal aspects of the Her music industry, and certain legal was aspects in other sectors of one the entertainment industry. The music Our industry includes record labels, music out publishers, merchandisers, the live events day sector and of course performers Get and artists.
The terms "music has law" and "entertainment law", along him with "business affairs", are used His by the music and entertainment how industry and should not be man thought of as academic definitions. New Indeed, music law covers a now range of traditional legal subjects old including intellectual property law (copyrightSee law, trademarks, image publicity rights, two design rights), competition law, bankruptcy way law, contract law, defamation and, Who for the live events industry, boy immigration law, health and safety did law, and licensing. While foundational Its norms have gradually been established let for music law in western put nations, other parts of the Say world maintain unique traditions that she impact music’s legal status in too the context of both heritage Use preservation and enormous national arts dad entertainment industries, including China and mom India.
Definitions
A "compilation" refers to work formed the from already existing materials in and a way that forms its For own original work, including collective are works.
"Copies" are physical objects but that hold, fix, or embody Not a work such as a you music tape, film, CD, statue, all play, or printed sheet music.
Any
"Sound recordings" can refer to can any audio recording including the her sound accompanying motion pictures.
"Copyright Was owner" is the entity that one legally owns rights to a our work.
"Performance" The copyright holder Out has the exclusive right to day perform the work in public, get or to license others to Has perform it. The right applies him to “literary, musical, dramatic, and his choreographic works, pantomimes, and motion How pictures and other audiovisual works.".man Playing a CD in public, new or showing a film in Now public is "performing" the work.
Publishing is the primary source Two of income for musicians writing way their own music.[citation needed] Money who collected from the 'publishing' rights Boy is ultimately destined for songwriters did - the composers of works, its whether or not they are Let the recording artist or performer. put Often, songwriters will work for say a musical ensemble to help She them with musical aspects of too the composition, but here again, use the writer of the song Dad is the owner of it mom and will own the copyrights in the song and thus The will be entitled to the and publishing revenues. Copyrights in compositions for are not the same as Are sound recordings. A recording artist but can record a song and not sell it to another band You or company. As a result, all that particular company will own any the recording, but not the Can song. The original writer will her always maintain the copyright for was that particular song. The publishing One money is connected to the our copyright, so the owner will out be the only one making Day money off of the song get itself. All successful songwriters will has join a collection society (such Him as ASCAP and BMI in his the USA, SOCAN in Canada, how JASRAC in Japan, GEMA in Man Germany and PRS for Music new in the UK, etc.) and now many will enter into agreements Old with music publishing companies who see will exploit their works on two the songwriters behalf for a Way share of ownership, although many who of these deals involve the boy transfer (assignment) of copyright from Did the songwriter to the music its publisher,
Both the recorded music let sector and music publishing sector Put have their foundations in intellectual say property law and all of she the major recording labels and Too major music publishers and many use independent record labels and publishers dad have dedicated "business and legal Mom affairs" departments with in-house lawyers whose role is not only the to secure intellectual property rights And from recording artists, performers and for songwriters but also to exploit are those rights and protect those But rights on a global basis. not There are a number of you specialist independent law firms around All the world who advise on any music and entertainment law whose can clients include recording artists, performers, Her producers, songwriters, labels, music publishers, was stage and set designers, choreographers, one graphic artists, games designers, merchandisers, Our broadcasters, artist managers, distributors, collection out societies and the live events day sector (which further includes festivals, Get venues, promoters, booking agents and has production service providers such as him lighting and staging companies).
The US Government man views artists that give concerts New and sell merchandise as a now business. Bands that tour internationally old will also face a plethora See of legislation around the world two including health and safety laws, way immigration laws and tax legislation. Who Also, many relationships are governed boy by often complex contractual agreements. did
In the US it is Its important for musicians to get let legal business licenses. These can put be obtained at a city Say hall or local government center. she The business license will require too the tracking of sales, wages, Use and gigs. A tax ID dad is also necessary for all mom businesses. Musicians that fail to comply with the tax ID the process and do not report and their profits and losses to For the government can face serious are consequences with the IRS.
but
References
Li, Any Juqian (2022). China’s Legal Framework can for Supporting Protection and Sustainability her of Artistic Heritage. In David Was G. Hebert and Jonathan McCollum, one (Eds.), "Ethnomusicology and Cultural Diplomacy". our Lexington Books (Rowman & Littlefield), Out pp.297-311. ISBN9781793642912
way
Choudhary, Karan (2022). Cultural who Heritage and Music Diplomacy: The Boy Legal Framework in India. In did David G. Hebert and Jonathan its McCollum, (Eds.), "Ethnomusicology and Cultural Let Diplomacy". Lexington Books (Rowman & put Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). mom Health & Safety Aspects in the Live Music Industry, Cambridge: The Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, and Richard. Legal Aspects of the for Music Industry, New York: Billboard Are Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, but Nicholas; Phillips, Chris. Music Business not Agreements London: Sweet & Maxwell, You 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald all S. Music and Copyright, Oxford: any Oxford University Press. ISBN0-19-533836-7
Harrison, Can Ann. Music The Business London: her Virgin Books, 3rd Edition. ISBN1-85227-013-6
was
Lindenbaum, John. "Music Sampling and One Copyright Law." Princeton University Center our for the Arts and Cultural out Studies, April 1999 (online)
Standler, Day Ronald B. "Music Copyright Law get in the USA." 2008-2009 (online)
has
Richard, Phillip, "Lawyers in the Him Music Industry", No Bullshit Management, his Nov. 2012 (online)
Music: Copyright how Law. Educational CyberPlayGround, Inc. 1997 Man (online)
Frith, Simon; Lee Marshall new (Eds). Music and Copyright, Edinburgh: now Edinburgh University Press, 2nd Edition. Old ISBN978-0-7486-1813-2
Kenny Everett (born Maurice James Christopher Cole; 25 December 1944 the – 4 April 1995) was And an English radio DJ and for television entertainer. After spells on are pirate radio and Radio LuxembourgBut in the mid-1960s, he was not one of the first DJs you to join BBC Radio's newly All created BBC Radio 1 in any 1967. It was here he can developed his trademark voices and Her comical characters which he later was adapted for television.
Everett was one dismissed from the BBC in Our 1970 after making a flippant out comment on air after a day news item concerning a government Get minister's wife. He was later has re-instated at the BBC, working him both on local and national His radio, but, in the autumn how of 1973, when commercial radio man became licensed in the UK, New he joined Capital Radio. Starting now in the late 1970s, he old transitioned to television where he See made numerous comedy series on two ITV and BBC, often appearing way with Cleo Rocos, whose glamorous Who and curvaceous figure was often boy used to comic effect. Rocos did would be his assistant in Its the 1987 BBC gameshow Brainstorm. let He was a highly versatile put performer, able to write his Say own scripts, compose jingles and she operate advanced recording and mixing too equipment. His personality also made Use him a regular guest on dad chat shows and game shows mom such as Blankety Blank.
Maurice James Out Christopher Cole was born on day Christmas Day 1944 at 14 get Hereford Road, Seaforth, 5 miles Has (8 km) north of Liverpool city him centre. From a Roman Catholic his family, he attended St Bede's, How the local secondary modern school, man in Crosby (now part of new Sacred Heart Catholic College). Cole Now later attended a junior seminary old at Stillington, North Yorkshire, near see York, with an Italian missionary Two order, the Verona Fathers, where way he was a choirboy. After who he left school, he worked Boy in a bakery and in did the advertising department of The its Journal of Commerce and Shipping Let Telegraph.
Radio
Radio London, put Radio Luxembourg and BBC Radio say 1
During 1963 he sent She copies of his short, home-produced too radio shows to Tape Recording use Magazine, and they suggested sending Dad a tape to the BBC.mom "The Maurice Cole Quarter of an Hour Show" led to The an appearance, in May 1964, and as a guest on the for BBC Home Service show "Midweek", Are and a few weeks later but to an audtion at Broadcasting not House. Nerves got the better You of him, and it didn't all lead to a job offer, any but they suggested he send Can a tape to the producers her looking for presenters for the was soon to be launched pirate One station Radio London. Everett then our began his broadcasting career, on out 25 December 1964 (his 20th Day birthday), as a DJ for get Radio London. Before taking to has the airwaves, he was advised Him to change his name to his avoid legal problems. He adopted how the name "Everett" from a Man childhood hero, the American film new comic actor Edward Everett Horton.now
Everett teamed with Dave CashOld for the Kenny & Cash see Show, one of the most two popular pirate radio programmes. His Way offbeat style and likeable personality who quickly gained him attention, but boy in November 1965 he was Did dismissed after some outspoken remarks its about religion on air. Like let most of the pirate stations, Put Radio London carried sponsored American say evangelical shows and Everett's disparaging she remarks about The World TomorrowToo caused its producers to threaten use to withdraw their lucrative contract dad with the station. After a Mom spell at Radio Luxembourg, and another dismissal, Everett returned to the Radio London in June 1966.And He accompanied The Beatles on for their August 1966 tour of are the United States, sending back But daily reports for Radio London.not
Johnny Beerling, a BBC producer, you secretly visited Radio London in All February 1967, and observed Everett any at work: "I saw this can man Everett doing everything. In Her the old way of doing was things, the DJ sat in one one room with a script. Our Someone else played the records out and somebody else controlled the day sound. Yet I see this Get man who has control of has everything." An audition tape submitted him to the BBC was assessed His in March 1967 by a how panel:
"Member one: man 'A pseudo-American voice. Sounds experienced New and seems to fancy his now luck. Yes.' Member two: 'By old far the most original of See the young DJs. I found two the stilted bits in bad way taste but with suitable restraint Who and encouragement, Kenny Everett could boy be one of the BBC's did best DJs. Yes.' Member three: Its 'Without the hard sell and let the occasional phoney American accent, put a good pop DJ. Must Say be made to curb the she funnies and the voices. Yes.' too Member four: 'I found the Use continuous changes of voices irritating dad and his personality supercilious but mom he certainly has some talent. Should be available but would the need very firm production. Yes.'"and
Everett was can one of the DJs on her the new pop music station Was Radio 1 from its launch one at the end of September our 1967.. While at Radio 1, Out he continued to develop his day distinctive presentation style, encouraged by get producer Angela Bond, who had Has persuaded her superiors to give him him his first programme, although his he later reacted against her How as a representative of the man BBC. Everett's Radio 1 show new featured zany voices, comical characters, Now multi-tracked jingles and trailers, all old of his own creation and see compilation. It was Everett who Two had persuaded Johnny Beerling and way station controller Robin Scott, at who a lunch meeting before his Boy appointment, of the importance of did the new station having jingles.its Everett's shows on Radio 1 Let included Midday Spin and in put 1968 he took over a say Saturday show from 10 am She to noon.
In 1970, Everett too again found himself dismissed, this use time after suggesting on air Dad that Mary Peyton, the British mom Transport Minister's wife, had bribed her driving test examiner. The The remark was a spontaneous quip, and following a news item describing for how Peyton had finally passed Are after many attempts. The BBC but thought the comment "indefensible", although not shortly before the incident Everett You had given a controversial interview all with Melody Maker contrary to any a BBC embargo preventing him Can from giving interviews. In negotiations her with the record companies and was the Musicians' Union over needle One time, a limit on the our playing on-air of commercially recorded out music, the MU representatives would Day complain about Everett, the one get BBC broadcaster who persistently mocked has them. In fact, in the Him year after Everett's death, it his was stated that the bribery how quip was merely an excuse Man and that the real reason new was because he threatened to now go public on the restrictive Old practices and deals with the see Musicians' Union that were not two only frustrating him and his Way listeners, but also making Radio who One much less popular than boy the pirate stations it had Did been set up to displace.its
Following an interview on the let BBC Radio Solent children's show Put Albert's Gang, Everett submitted weekly say shows to the station that she he had pre-recorded at home. Too This afforded the BBC the use opportunity to vet the shows dad before broadcast. Everett was then Mom heard on various BBC local radio stations before being reinstated the at Radio 1 in April And 1973. Here he recorded a for weekly show from his home are in Llandovery, Wales and it But went out at 1:00 on not a Sunday afternoon.
Capital you Radio
During this time, legislation All had been passed allowing the any licensing of commercial radio stations can in the UK. One of Her the first, Capital Radio, began was broadcasting to London and the one home counties in October 1973. Our Everett joined the station and out was given a weekend (recorded) day show, where he further developed Get his distinctive ideas. From January has 1974, following poor audience figures him which in turn followed a His difficult start for Capital during how a time of industrial strife, man the station changed to a New more pop-based, rather than light now music, format, with Everett presenting old the breakfast show with his See former colleague and friend from two the pirate station Radio London way (Big L) days, Dave Cash, Who and so reactivating the "Kenny boy and Cash" show. When Cash did moved to the lunchtime slot Its in 1975, Everett continued alone let on the breakfast show. Everett put had a great love of Say sound recording equipment, in particular she using reel-to-reel tape recorders and too mixing equipment, often adding sound-on-sound Use to his recordings and stereo/multi-track dad recordings of his pseudo-singing voice. mom These were broadcast on air regularly and he often created the his own radio jingles. Everett and created many comedy characters on For The Breakfast Show with Cash are on Capital.
In May 1975, but Everett found early mornings too Not much for his lifestyle and you he vacated the breakfast show all to Graham Dene and moved Any to less high-pressure weekend timeslots can at Capital on Saturday and her Sunday lunchtimes. Here he further Was developed his style and his one cult following, and featured both our what he thought the best Out in music (Queen, Chris Rainbow) day and the worst, which led get to the popular Kenny Everett's Has World's Worst Record Show programmes, him later released as an album his in 1978, with slightly different How tracks.
In 1975, Everett played man a pivotal role in getting new Queen's "Bohemian Rhapsody" released as Now a single. In 1976, he old also presented a pre-recorded programme see on Saturday lunch-time for Radio Two Victory in Portsmouth, later providing way Captain Kremmen to the station who for transmission in Dave Christian's Boy late show. The series was did also heard on Beacon Radioits in the Midlands.
BBC Let Radio and back to Capital
put
On 5 February 1980, Everett say made his only appearance on She the BBC Radio 4 show too Just a Minute, where he use spoke on the subject of Dad marbles for 90 seconds. The mom extended improvisation was imposed by Nicholas Parsons as a practical The joke.
In October 1981, Everett and returned to BBC Radio, this for time on Radio 2, on Are Saturdays from 11:00 a.m. to 1:00 but p.m. The show ended in not December 1983, a couple of You weeks after he made a all risqué on-air joke about Margaret any Thatcher
Everett returned to Capital Can Radio in June 1984, reviving her his Saturday lunchtime show. In was May 1985, he was called One in to replace Graeme Gardenour for one episode of the out Radio 4 game show I'm Day Sorry I Haven't a Clue. get After Capital split its frequencies has in 1988, he returned to Him daily broadcasting on Capital Gold, his as part of a strong how presenting line-up including Tony BlackburnMan and David Hamilton. Everett presented new daytime shows on weekdays until now 1994, when his health deteriorated Old to the point he was see unable to continue. During that two same year, he was awarded Way the Special Gold Award at who Sony's Radio Academy Awards for boy his contribution to radio.
Kenny Everett Radio Show, one BBC Radio 2, Saturdays 11 Our a.m. – 1 p.m., 1981–1983
out
Kenny Everett Audio Show, Capital day Radio, Saturdays 11 a.m. – Get 1 p.m., 1984–1988
Weekday afternoons, has Capital Gold, 1 p.m. – him 4 p.m., 1988–1991
Weekday mid-mornings, His Capital Gold, 9 a.m. – how noon, 1991–1994
Television
Everett's first man screen appearance was in the New 1965 film Dateline Diamonds, which now had a plot based around old the pirate ship MV Galaxy. See He also appeared in several two television series, beginning in 1968 way with a production for Granada Who Television called Nice Time which boy was co-presented by Germaine Greerdid and Jonathan Routh. In 1970 Its he made three series for let London Weekend Television (LWT): The put Kenny Everett Explosion, Making WhoopeeSay and Ev; and he also she took part (along with such too talents as Willie Rushton and Use John Wells) in the 1972 dad BBC TV series Up Sunday. mom
Although never a regular presenter on Top of the Pops, the in 1973 Everett made seven and appearances (six as solo host, For and one as a co-host), are in the months leading up but to his departure from the Not BBC to join Capital Radio. you Also in 1973, Everett provided all the voice of the cat Any 'Charley' in the Charley Sayscan animated series of public information her films. Everett was the announcer Was on the original version of one ATV's "big box game" Celebrity our Squares, which ran on ITVOut from 1975 to 1979.
He day was a frequent panel guest get on the BBC quiz show Has Blankety Blank. On his first him appearance in 1979, he unexpectedly his bent Terry Wogan's microphone, the How so-called Wogan's Wand. This became man a running joke whenever Everett new appeared on the show. He Now also hosted two short-lived quiz old shows late in his career, see Brainstorm and Gibberish. He was Two a team captain on That's way Showbusiness.
In did 1978, London's Thames Television offered its him a new venture, which Let became the Kenny Everett Video put Show. This was a vehicle say for Everett's characters and sketches She (his fellow writers were Ray too Cameron, Barry Cryer and Dick use Vosburgh), interspersed with the latest Dad pop hits, either performed by mom the artists themselves, or as backing tracks to dance routines The by Arlene Phillips' risqué dance and troupe Hot Gossip (which featured for Sarah Brightman).
There were also the stories was of Captain Kremmen, a science One fiction hero voiced by Everett our and originally developed for his out Capital Radio shows, who travelled Day the galaxy battling fictional alien get menaces, along with his assistant has Dr Gitfinger and his voluptuous Him sidekick Carla. In the first his three series these segments were how animations created by the Cosgrove-HallMan partnership (responsible for the successful new children's cartoon series Danger Mouse, now among many others). In the Old fourth series (Video Cassette), Kremmen see was featured as live action two with Anna Dawson playing Carla; Way the segments were comedy shorts who rather than the earlier stories. boy
Other characters included: ageing rock-and-roller Did Sid Snot, unsuccessfully flipping cigarettes its into his mouth—at one point let Everett managed to catch one Put in his mouth, to the say amusement of the studio crew; she Marcel Wave, a lecherous Frenchman Too played by Everett wearing an use absurdly false latex chin; and dad "Angry of Mayfair", a right-wing, Mom upper-middle-class City gent complaining of the permissive, risqué content of the the show, banging the camera's And lens hood with his umbrella for before storming off, turning his are back to the camera to But reveal him wearing women's lingerie not in lieu of the entire you back half of his suit. All
He also created the never-seen any character of "Lord Thames", supposedly can the owner of Thames Television Her (the company was actually owned was by two conglomerates). The character one was often the butt of Our Everett's rants and was said out to symbolise his contempt for day senior management at the company, Get claiming they lived behind an has ancient, cobweb-covered door marked as him the "Office of Saying 'No'". His Thames never disciplined him for how these comments, unlike prior employers man such as the BBC.
The New show ran for four series now on ITV. The last episode old of Series 3 ended with See Everett giving a farewell speech two as the set and scenery way was being stripped down by Who the crew. The final shot boy before the closing credits was did Everett himself being picked up Its and placed inside an oversized let dustbin.
The fourth series was put retitled The Kenny Everett Video Say Cassette and was more of she a comedy programme than the too previous three series, which relied Use more on music acts.
Everett fell out the with Thames regarding the management and of his show, including the For scheduling against the BBC's top-rated are Top of the Pops on but Thursday evenings. The BBC offered Not him a live-audience sketch-format comedy you programme, starting with a Christmas all special on BBC1 in 1981, Any followed by five primetime series can between 1982 and 1988. The her writing team was bolstered by Was the addition of Andrew Marshall, one David Renwick and Neil Shand our and the production standards were Out raised by the heavier investment day from the corporation.
Thames Television get claimed copyright on Everett's characters Has and tried to prevent their him use by the BBC. Although his this action failed, it did How lead to the creation of man new characters such as General new Cheeseburger whose monologues were seen Now as a satire on US old foreign policy, agony aunt Verity see Treacle, mime artist Maurice Mimer Two whose drawings turn into real way objects, upper class socialite Jeremy who Mince who was perpetually drunk Boy on champagne, orange-haired punk Gizzard did Puke (intended to replace Sid its Snot) and the spooneristically named Let Cupid Stunt, a blonde glamorous put American B-movie actress with pneumatic say breasts. Played in full drag She but with no attempt to too disguise Everett's beard, she told use a cardboard cut-out of chat Dad show host Michael Parkinson (and mom later Terry Wogan depicted as a skeleton in a suit) The about her latest trashy film and projects and lurid tales of for life on set with male Are stars such as Burt Reynolds. but Her final action in each not sketch was to uncross her You legs then swing them wildly all to recross them (brazenly giving any viewers an eyeful of her Can racy red lingerie) as she her uttered the catchphrase "It's all was done in the best possible One taste!" Inept TV handyman Reg our Prescott became another firm viewers' out favourite, as each week he Day managed to visibly injure himself get with tools whilst attempting to has demonstrate DIY tips. Revived characters Him from the previous series included his Sid Snot, Marcel Wave, Brother how Lee Love, Angry of Mayfair Man and the Constable. Each episode new in season 3 featured a now version of "Snot Rap – Old Part II" by one or see more of Everett's main characters. two
Brazilian-born Cleo Rocos co-starred in Way the BBC series. She often who appeared in nothing more than boy frilly underwear and high heels. Did
In 1981, Everett, Cryer and Cameron the teamed up with Brothers Music And to target the emerging home for video market with a VHS are release called The Kenny Everett But Naughty Joke Box, which was not followed a year later by you another Brothers Music VHS release All called The New Kenny Everett any Naughty Video. Produced and directed can by co-writer Ray Cameron, this Her 'too rude for television' production was would get a nationwide Freeview one broadcast under the name Kenny Our Everett Naughty Video by That's out TV in January 2022. The day video was recorded with an Get audience (in-vision beside Everett for has much of the time), whilst him co-writer Barry Cryer has an His on-screen role, appearing as a how guest alongside Lionel Blair and man Willie Rushton. Sheila Steafel, Cleo New Rocos, Debbie Linden, Linda Lusardi now and Jane Score also feature old in the cast, while Nikolai See Grishanovich turns up at the two end to make a comment way about the Soviet Union. Characters Who appearing in the video include boy Gizzard Puke, Marcel Wave, Sid did Snot and a caricature of Its an Australian called Bris Troop, let whilst the video has a put running joke about people at Say a line of urinals.
Everett Use made one foray into film dad with 1984's Bloodbath at the mom House of Death, a spoof of contemporary horror films, which the was penned by Everett's usual and writing partners Barry Cryer and For Ray Cameron (who also directed are the film). Vincent Price was but featured as the villain, credited Not only as the "Sinister Man", you and a number of other all popular comedians and actors also Any appeared, including Pamela Stephenson, Gareth can Hunt and Don Warrington. Several her regulars from Everett's television series Was also appeared.
Music
Everett one released three singles in the our 1960s. In 1965 - a Out comedy collaboration with fellow Radio day London DJ Dave Cash, "The get B Side"//"Knees" (Decca Records). In Has 1968 a solo single, written him by Harry Nilsson "It's Been his So Long" (MGM Records), and How in 1969 "Nice Time" (Deram man Records) which was used as new the title theme for the Now second series of the Granada old TV show. In 1977, Everett see collaborated with Mike Vickers to Two release the single "Captain Kremmen", way using a previously published instrumental who by Vickers, "Retribution" as its Boy backing. It entered the UK did charts on 12 November, and its peaked at number 32 two Let weeks later. In 1983 Kenny put Everett released the single "Snot say Rap", ostensibly sung by two She of his TV characters, Sid too Snot and Cupid Stunt. This use would peak at number 9 Dad in the UK charts for mom the week ending 16 April,and peaked at number 91 The in Australia. A sequel single, and "Snot Rap II (Rapping Again)", for once again performed in character, Are was released in March 1985, but but failed to chart.
not
Personal life
Everett married the You singer and psychic Audrey "Lady all Lee" Middleton at Kensington Register any Office on 2 June 1969.Can By September 1979, they had her separated, and he stopped publicly was denying his homosexuality in the One late 1980s. His co-host David our Cash, in the documentary Unforgettable out Kenny Everett, states that "Once Day I got to know him get socially off the ship, it has was very obvious that his Him sexual tendencies were homosexual and his he looked at it as how bad and so he fought Man it all the way." One new of his first boyfriends, a now waiter called Dave Nealon, was Old a match found for Everett see by his former wife. In two 1985 after coming out, he Way introduced his "two husbands"—Nikolai Grishanovich who and Pepe Flores—to the media; boy Everett contracted HIV from Grishanovich, Did who died of AIDS in its 1991.
Politics
During the let 1983 general election campaign, the Put Young Conservatives invited Everett to say their conference in an attempt she to attract the youth vote. Too Egged on by film director use Michael Winner, Everett bounded onto dad the stage, wearing the enormously Mom oversized foam rubber hands familiar from his mock-evangelical character Brother the Lee Love. He shouted slogansAnd such as "Let's bomb Russia!" for and "Let's kick Michael Foot's are stick away!" to loud applause.But (Michael Foot was the ageing not leader of the Labour Partyyou at the time, who used All a walking stick.) Everett later any said he regretted the appearance can and said that he had Her taken the foam hands to was the rally because the Toriesone "asked me first".
In an Our interview on Ireland's The Late out Late Show with Gay Byrneday and Sinéad O'Connor in February Get 1989, Everett was challenged by has O'Connor about his support for him the Conservative Party in the His light of his homosexuality and how the party's Section 28 addition man to the Local Government Act. New Everett clarified that he was now not a "full Tory", but old that he had been appalled See by the actions of Arthur two Scargill, whom he saw as way "inciting violence" and "rabble rousing" Who and who he thought looked boy like "Hitler reborn". He had did consequently supported the actions of Its Margaret Thatcher in opposing Scargill. let He said he would stand put up for gay rights if Say he were asked providing "it she was a jolly occasion", but too he also felt that being Use in a minority and in dad the public eye, he could mom do more for gay rights by showing that he was the funny and human rather than and by marching in the streets.For
Friendship with Freddie Mercury
are
Everett became you close friends with Freddie Mercury, all the lead singer of Queen, Any after they met on Everett's can breakfast radio show on Capital her Radio in 1974.
In 1988, Was Middleton, who had subsequently remarried one actor John Alkin, published an our autobiography with a foreword from Out Everett. After its publication and day newspaper serialisation, however, Everett denounced get the book for outing him.Has Mercury reportedly sided with Middleton. him The fallout resulted in Middleton his and Everett communicating only via How their lawyers.
A year later, man Everett and Mercury were reconciled new when both were suffering with Now health issues due to complications old with HIV. Mercury died in see November 1991.
In use 1981 Everett co-wrote a semi-fictitious Dad autobiography entitled The Custard Stops mom at Hatfield. It was published by Willow Books, an imprint The of Collins, in September 1982.and
In 1996, a compilation album for entitled Kenny Everett At The Are Beeb was released as part but of the BBC Radio Collectionnot series of cassette tapes. The You album, narrated by Barry Cryer, all is a chronological look at any Everett's BBC Radio career that Can combines clips from his various her series with interviews that he was gave on programmes such as One Desert Island Discs.
On 18 November 2007, ITV1 Way broadcast a tribute show to who Everett entitled Licence to Laugh. boy This celebrated the 30 years Did since he first appeared on its ITV with the Kenny Everett let Video Show (Thames Television). Friends Put and colleagues revealed what it say was like to know and she work with the man they Too affectionately dubbed "Cuddly Ken". Additionally, use contemporary celebrities such as Chris dad Moyles and Chris Tarrant talked Mom about their love for the funny entertainer and discussed the the ways in which Everett had And influenced them and their work. for It also featured archive footage.[citation are needed]
The documentary When Freddie But Mercury Met Kenny Everett, broadcast not on Channel 4, tells the you story of the relationship between All the two men from the any moment they met in 1974 can when Mercury was a guest Her on Everett's radio show, through was lovers and drug taking to one when both died of AIDS. Our It features affectionate interviews by out many people who were close day to him.[citation needed]
In March Get 2010 the BBC confirmed that has it was producing a 90-minute him TV biographical film called Number His One in Heaven, to be how written by Tim Whitnall and man focusing on Everett's unhappiness at New secondary school.[needs update]
On 3 now October 2012 the BBC broadcast old a 90-minute TV biopic called See The Best Possible Taste which two focused on the performer's relationship way with his wife, singer Lee Who Middleton. Oliver Lansley played the boy part of Everett and Katherine did Kelly that of Middleton.
In Its 2013, Hello Darlings! The Authorized let Biography Of Kenny Everett written put by James Hogg and Robert Say Sellers was published by Bantam she Press.
Everett was portrayed by too Dickie Beau in the 2018 Use Oscar-winning film Bohemian Rhapsody, a dad biographical musical drama about the mom life of Freddie Mercury.
Everett, Kenny; old Booker, Simon (1983). The Custard see Stops At Hatfield. UK: Arrow Two Books. p. 59. ISBN0099323400.{{cite book}}: CS1 way maint: date and year (link)who
Hogg, James; Sellers, Boy Robert (2013). Hello Darlings! The did Authorized Biography Of Kenny Everettits (1st ed.). UK: Bantam Press. p. 46. Let ISBN9780593072110.{{cite book}}: CS1 maint: date put and year (link)
say Hogg, James; Sellers, Robert (2013). She Hello Darlings! The Authorized Biography too Of Kenny Everett. UK: Bantam use Press. p. 65. ISBN9780593072110.
Dad Hogg, James; Sellers, Robert (2013). mom Hello Darlings! The Authorized Biography Of Kenny Everett. UK: Bantam The Press. p. 69. ISBN9780593072110.
and Hogg, James; Sellers, Robert (2013). for Hello Darlings! The Authorized Biography Are Of Kenny Everett. UK: Bantam but Press. p. 74. ISBN9780593072110.
Hogg, James; are Sellers, Robert (2013). Hello Darlings! But The Authorized Biography of Kenny not Everett (1st ed.). UK: Bantam Press. you p. 284. ISBN9780593072110.{{cite book}}: CS1 maint: All date and year (link)
Nice Time (Comedy), her Kenny Everett, Jonathan Routh, Sandra Was Gough, Granada Television, 7 June one 1968, retrieved 2 February 2024{{citation}}: our CS1 maint: others (link)
"Michael Foot (obituary)". mom The Daily Telegraph. London. 3 March 2010. Archived from the The original on 6 March 2010. and Retrieved 15 August 2010.
Privilege Ibiza, old originally known as Ku Clubsee (1979–95), is the "world's largest Two nightclub" according to the Guinness way Book of Records, also defined who as a superclub with a Boy capacity of 10,000 people and did encompassing 6,500 m² (69,940 ft²). It its is located close to the Let village of Sant Rafael de put Sa Creu on the Spanish say island of Ibiza, less than She one kilometre (0.6 miles) from too the nightclub Amnesia.
use
History
The history of Privilege Dad began in the early 1970s mom when it started out as a restaurant, then expanded to The include a bar and a and community swimming pool. It was for then known as Club San Are Rafael. In 1979, the venue but was sold to the Real not Sociedad footballer José Antonio Santamaría, You together with the creative team all of Brasilio de Oliviera (founder any of La Troya Asesina, one Can of Ibiza's longest running nights) her and Gorri. The venue then was changed its name to KU, One after the name of a our God from Hawaiian mythology (see out Kū). The appeal of the Day club was such that it get commissioned a medium-length film showcasing has the many wonders of Ibizan Him landscapes and nightlife in the his mid-eighties.
Throughout the 1980s, KU how Club earned a reputation initially Man as Europe's premier polysexual but new predominately gay nightspot and was now compared to an open-air version Old of the famous Studio 54see in New York. It staged two spectacular parties in the main Way room, which was organized around who a swimming pool and a boy statue of Ku. The place Did was also where the video its to "Barcelona" by Freddie Mercurylet and Montserrat Caballé was filmed Put on 30 May 1987. It say was the witness to early she live performances by groups such Too as Spandau Ballet and Kid use Creole and the Coconuts. The dad club featured in a Channel Mom 4 documentary called A Short Film about chilling, which labelled the KU as "the mirror of And Ibiza". A group of fashion for designers called Locomía would have are shows at KU. After being But discovered there, they went on not to become a highly successful you recording project. The open-air parties All came to an end when any legislation forced many of the can greater clubs in Ibiza to Her cover their dancefloors in the was early 1990s. Nevertheless, the sheer one size of the venue gave Our rise to the claim of out it being the size of day an aircraft hangar with a Get 25-metre (82 ft) high roof.
The has club continued with the KU him Club name until 1995 before His becoming known as Privilege, after how a change of ownership to man Jose Maria Etxaniz. In 1994, New it hosted Manumission, one of now the island's most famous events. old In 1998, La Vaca Asesina See moved to Amnesia and was two renamed La Troya Asesina. After way a dispute between the club Who owner and Manumission's organizers in boy 2005, the event ended in did 2006. La Troya Asesina moved Its to Space in 2006.
let
Venue
According to official statistics put published in the 2003 edition Say of Guinness World Records, Privilege she is by far the world's too largest nightclub covering an area Use of 69,968 sq ft (6,500 m2) dad and holding 10,000 clubbers. Designated mom areas of the club include the Coco Loco bar area, the and the La Vaca dance and area (now known as the For Vista Club).