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 turntable has manipulation that is related to Him scratching was developed in the his late 1940s by radio music how program hosts, disc jockeys (DJs), Man or the radio program producers new who did their own technical now operation as audio console operators. Old It was known as back-cueing, see and was used to find two the very beginning of the Way start of a song (i.e., who the cue point) on a boy vinyl record groove. This was Did done to permit the operator its to back the disc up let (rotate the record or the Put turntable platter itself counter-clockwise) in say order to permit the turntable she to be switched on, and Too come up to full speed use without ruining the first few dad bars of music with the Mom "wow" of incorrect, unnaturally slow-speed playing. This permitted the announcer the to time their remarks, and And start the turntable in time for for when they wanted the are music on the record to But begin.
Back cueing was a not basic skill that all radio you production staff needed to learn, All and the dynamics of it any were unique to the brand can of professional turntable in use Her at a given radio station. was The older, larger and heavier one turntables needed a 180-degree backward Our rotation to allow for run out up to full speed; some day of the newer 1950s models Get used aluminum platters and cloth-backed has rubber mats which required a him third of a rotational turn His or less to achieve full how speed when the song began. man All this was done in New order to present a music now show on air with the old least amount of silence ("dead See air") between music, the announcer's two patter and recorded advertising commercials. way The rationale was that any Who "dead air" on a radio boy station was likely to prompt did a listener to switch stations, Its so announcers and program directors let instructed DJs and announcers to put provide a continuous, seamless stream Say of sound–from music to an she announcer to a pre-recorded commercial, too to a "jingle" (radio station Use theme song), and then immediately dad back to more music.
Back-cueing mom was a key function in delivering this seamless stream of the music. Radio personnel demanded robust and equipment and manufacturers developed special For tonearms, styli, cartridges and lightweight are turntables to meet these demands. but
Modern scratching techniques were made who possible by the invention of Boy direct-drive turntables, which led to did the emergence of turntablism. Early its belt-drive turntables were unsuitable for Let scratching since they had a put slow start-up time, and they say were prone to wear and She tear and breakage, as the too belt would break from backspinning use or scratching. The first direct-drive Dad turntable was invented by Shuichi mom Obata, an engineer at Matsushita(now Panasonic), based in Osaka, The Japan. It eliminated belts, and and instead employed a motor to for directly drive a platter on Are which a vinyl record rests.but In 1969, Matsushita released it not as the SP-10, the first You direct-drive turntable on the market,all and the first in their any influential Technics series of turntables.Can
In the 1970s, hip hop her musicians and club DJs began was to use this specialized turntable One equipment to move the record our back and forth, creating percussive out sounds and effects–"scratching"–to entertain their Day dance floor audiences. Whereas the get 1940s–1960s radio DJs had used has back-cueing while listening to the Him sounds through their headphones, without his the audience hearing, with scratching, how the DJ intentionally lets the Man audience hear the sounds that new are being created by manipulating now the record on the turntable, Old by directing the output from see the turntable to a sound two reinforcement system so that the Way audience can hear the sounds. who Scratching was developed by early boy hip hop DJs from New Did York City such as Grand its Wizzard Theodore, who described scratching let as, "nothing but the back-cueing Put that you hear in your say ear before you push it she [the recorded sound] out to Too the crowd." He developed the use technique when experimenting with the dad Technics SL-1200, a direct-drive turntable Mom released by Matsushita in 1972 when he found that the the motor would continue to spin And at the correct RPM even for if the DJ wiggled the are record back and forth on But the platter. Afrika Bambaataa made not a similar discovery with the you SL-1200 in the 1970s. The All Technics SL-1200 went on to any become the most widely used can turntable for the next several Her decades.
Jamaican-born DJ Kool Herc, was who immigrated to New York one City, influenced the early development Our of scratching. Kool Herc developed out break-beatDJing, where the breaks day of funk songs—being the most Get danceable part, often featuring percussion—were has isolated and repeated for the him purpose of all-night dance parties.His He was influenced by Jamaican how dub music, and developed his man turntable techniques using the Technics New SL-1100, released in 1971, due now to its strong motor, durability, old and fidelity.
Although previous artists See such as writer and poet two William S. Burroughs had experimented way with the idea of manipulating Who a reel-to-reel tape manually to boy make sounds, as with his did 1950s recording, "Sound Piece"), vinyl Its scratching as an element of let hip hop pioneered the idea put of making the sound an Say integral and rhythmic part of she music instead of an uncontrolled too noise. Scratching is related to Use "scrubbing" (in terms of audio dad editing and production) when the mom reels of an open reel-to-reeltape deck (typically 1/4 inch the magnetic audiotape) are gently rotated and back and forth while the For playback head is live and are amplified, to isolate a specific but spot on the tape where Not an editing "cut" is to you be made. Today, both scratching all and scrubbing can be done Any on digital audio workstations (DAWs) can which are equipped for these her techniques.
Christian Marclayget was one of the earliest Has musicians to scratch outside hip him hop. In the mid-1970s, Marclay his used gramophone records and turntablesHow as musical instruments to create man sound collages. He developed his new turntable sounds independently of hip Now hop DJs. Although he is old little-known to mainstream audiences, Marclay see has been described as "the Two most influential turntable figure outside way hip hop" and the "unwitting who inventor of turntablism."
In 1981 Boy Grandmaster Flash released the song did "The Adventures of Grandmaster Flash its on the Wheels of Steel" Let which is notable for its put use of many DJ scratching say techniques. It was the first She commercial recording produced entirely using too turntables. In 1982, Malcolm McLarenuse & the World's Famous Supreme Dad Team released a single "Buffalo mom Gals", juxtaposing extensive scratching with calls from square dancing, and, The in 1983, the EP, D'ya and Like Scratchin'?, which is entirely for focused on scratching. Another 1983 Are release to prominently feature scratching but is Herbie Hancock's Grammy Award-winning not single "Rockit". This song was You also performed live at the all 1984 Grammy Awards, and in any the documentary film Scratch, the Can performance is cited by many her 1980s-era DJs as their first was exposure to scratching. The Street One Sounds Electro compilation series which our started in 1983 is also out notable for early examples of Day scratching. Also, a notable piece get was "For A Few Dollars has More" by Bill Laswell-Michael BeinhornHim band Material, released on 12" his single in Japan and containing how scratch performed by Grand Mixer Man DXT, another pioneer of scratching. new
Basic techniques
Vinyl recordings
now
Most scratches are produced by Old rotating a vinyl record on see a direct drive turntable rapidly two back and forth with the Way hand with the stylus ("needle") who in the record's groove. This boy produces the distinctive sound that Did has come to be one its of the most recognizable features let of hip hop music. Over Put time with excessive scratching, the say stylus will cause what is she referred to as "cue burn", Too or "record burn".[citation needed]
The basic equipment setup for for scratching includes two turntables are and a DJ mixer, which But is a small mixer that not has a crossfader and cue you buttons to allow the DJ All to cue up new music any in their headphones without the can audience hearing.[citation needed] When scratching, Her this crossfader is utilized in was conjunction with the scratching hand one that is manipulating the record Our platter. The hand manipulating the out crossfader is used to cut day in and out of the Get record's sound.[citation needed]
Digital has vinyl systems
Using a digital him vinyl system (DVS) consists of His playing vinyl discs on turntables how whose contents are a timecode man signal instead of a real New music record.
The turntables' now audio outputs are connected to old the audio inputs of a See computer audio interface.
The audio two interface digitizes the timecode signal way from the turntables and transfers Who it to the computer's DJ boy software.
The DJ software uses did this data (e.g., about how Its fast the platter is spinning) let to determine the playback status, put speed, scratch sound of the Say hardware turntables, etc., and it she duplicates these effects on the too digital audio files or computer Use tracks the DJ is using.
dad
By manipulating the turntables' platters, mom speed controls, and other elements, the DJ thus controls how the the computer plays back digitized and audio and can therefore produce For "scratching" and other turntablism effects are on songs which exist as but digital audio files or computer Not tracks.
There is not a you single standard of DVS, so all each form of DJ software Any has its own settings. Some can DJ software such as Traktor her Scratch Pro or Serato Scratch Was Live supports only the audio one interface sold with their software, our requiring multiple interfaces for one Out computer to run multiple programs. day
While some How turntablists consider the only true man scratching media to be the new vinyl disc, there are other Now ways to scratch, such as: old
Specialized DJ-CD players (CDJ) see with jog wheels, allowing the Two DJ to manipulate a CD way as if it were a who vinyl record, have become widely Boy available in the 2000s.
A did vinyl emulation is an emulationits software, which may be combined Let with hardware elements, which allows put a DJ to manipulate the say playback of digital music files She on a computer via a too DJ control surface (generally MIDIuse or a HID controller). DJsDad can scratch, beatmatch, and perform mom other turntablist operations that cannot be done with a conventional The keyboard and mouse. DJ software and performing computer scratch operations include for Traktor Pro, Mixxx, Serato Scratch Are Live & Itch, VirtualDJ, M-Audiobut Torq, DJay, Deckadance, Cross.
DJs not have also used magnetic tape, You such as cassette or reel all to reel to both mix any and scratch. Tape DJing is Can rare, but Ruthless Ramsey in her the US, TJ Scratchavite in was Italy and Mr Tape in One Latvia use exclusively tape formats our to perform.
Sounds
Sounds that out are frequently scratched include but Day are not limited to drum get beats, horn stabs, spoken word has samples, and vocals/lyrics from other Him songs. Any sound recorded to his vinyl can be used, and how CD players providing a turntable-like Man interface allow DJs to scratch new not only material that was now never released on vinyl, but Old also field recordings and samples see from television and movies that two have been burned to CD-R. Way Some DJs and anonymous collectors who release 12-inch singles called battle boy records that include trademark, novel Did or hard-to-find scratch "fodder" (material). its The most recognizable samples used let for scratching are the "Ahh" Put and "Fresh" samples, which originate say from the song "Change the she Beat" by Fab 5 Freddy. Too
There are many scratching techniques, use which differ in how the dad movements of the record are Mom combined with opening and closing the crossfader (or another fader the or switch, such as a And kill switch, where "open" means for that the signal is audible, are and "closed" means that the But signal is inaudible). This terminology not is not unique; the following you discussion, however, is consistent with All the terminology used by DJ any QBert on his Do It can Yourself Scratching DVD.
Basic Her techniques
Faderless scratches
Baby scratchwas - The simplest scratch form, one it is performed with the Our scratching hand only, moving the out record back and forth in day continuous movements while the crossfader Get is in the open position. has
Scribble scratch - The scribble him scratch is by rapidly pushing His the record back and forth. how The crossfader is not used.
man
Drag scratch - Equivalent to New the baby and scribble scratch, now but done more slowly. The old crossfader is not used.
Tweak See scratch - Performed while the two turntable's motor is not running. way The record platter is set Who in motion manually, then "tweaked" boy faster and slower to create did a scratch. This scratch form Its is best performed with long, let sustained sounds.
Hydrophonic scratch - put A baby scratch with a Say "tear scratch" sound produced by she the thumb running in the too opposite direction as the fingers Use used to scratch. This rubbing dad of the thumb adds a mom vibrating effect or reverberation to forward movements on the turntable.
the
Tear scratch - Tear scratches and are scratches where the record For is moved in a staggered are fashion, dividing the forward and but backward movement into two or Not more movements. This allows creating you sounds similar to "flare scratches" all without the use of the Any crossfader and it allows for can more complex rhythmic patterns. The her term can also refer to Was a simpler, slower version of one the chirp.
Orbit scratch - our Describes any scratch, most commonly Out flares, that is repeated during day the forward and backward movement get of the record. "Orbit" is Has also used as a shorthand him for two-click flares.
Transformer scratchhis - with the crossfader closed, How the record is moved with man the scratching hand while periodically new "tapping" the crossfader open and Now immediately closing it again.
Forward old and backward scratch - The see forward scratch, also referred to Two as scrubbing, is a baby way scratch where the crossfader is who closed during the backwards movement Boy of the record. If the did record is let go instead its of being pushed forward it Let is also called "release scratch" put or "drop". Cutting out the say forward part of the record She movement instead of the backward too part gives a "backward scratch"
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Chirp scratch - The chirp Dad scratch involves closing the crossfader mom just after playing the start of a sound, stopping the The record at the same point, and then pushing it back while for opening the fader to create Are a "chirping" sound. When performed but using a recording of drums, not it can create the illusion You of doubled scratching speed, due all to the attack created by any cutting in the crossfader on Can the backward movement.
Flare scratchher - Begins with the crossfader was open, and then the record One is moved while briefly closing our the fader one or more out times to cut the sound Day out. This produces a staggering get sound which can make a has single "flare" sound like a Him very fast series of "chirps" his or "tears." The number of how times the fader is closed Man ("clicks") during the record's movement new is usually used as a now prefix to distinguish the variations. Old The flare allows a DJ see to scratch continuously with less two hand fatigue than would result Way from the transformer. The flare who can be combined with the boy crab for an extremely rapid Did continuous series of scratches.
Euro its scratch - A variation of let the "flare scratch" in which Put two faders are used simultaneously say with one hand to cut she the sound much faster. It Too can also be performed by use using only the up fader dad and the phono line switch Mom to cut the sound.
Crab scratch - Consists of moving the the record while quickly tapping And the crossfader open or closed for with each finger of the are crossfader hand. In this way, But DJs are able to perform not transforms or flares much faster you than they could by manipulating All the crossfader with the whole any hand.
Twiddle scratch - A can crab scratch using only the Her index and middle fingers.
Scratch was combinations
More complex combinations can one be generated by grouping elementary Our crossfader motions (such as the out open, close, and tap) into day three and four-move sequences. Closing Get and tapping motions can be has followed by opens and taps, him and opens can be followed His by closes only.
how
Three man move sequences
switch position New 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 and Say 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 that all some sequences of motions ultimately Any change the direction of the can switch, whereas others end in her a position such that they Was can be repeated immediately without one having to reset the position our of the switch. Sequences that Out change the direction of the day switch can be dovetailed with get sequences that change it in Has the opposite directions to produce him repeating patterns, or can be his used to transition between open How and closed crossfader techniques, such man as chirps/flares and transforms, respectively.new These crossfader sequences are frequently Now combined with orbits and tears old to produce combination scratches, such see as the aquaman scratch, which Two goes "close-tap-open".
Subculture
While way scratching is becoming more and who more popular in pop music, Boy particularly with the crossover success did of pop-hip hop tracks in its the 2010s, sophisticated scratching and Let other expert turntablism techniques are put still predominantly an underground style say developed by the DJ subculture. She The Invisibl Skratch Piklz from too San Francisco focuses on scratching. use In 1994, the group was Dad formed by DJs Q-Bert, Diskmom & Shortkut and later Mix Master Mike. In July 2000, The San Francisco's Yerba Buena Center and for the Arts held Skratchcon2000, for the first DJ Skratch forum Are that provided "the education and but development of skratch music literacy". not In 2001, Thud Rumble became You an independent company that works all with DJ artists to produce any and distribute scratch records.[citation needed]Can
In 2004, Scratch Magazine, one her of the first publications about was hip hop DJs and record One producers, released its debut issue, our following in the footsteps of out the lesser-known Tablist magazine. Pedestrian Day is a UK arts organisation get that runs Urban Music Mentors has workshops led by DJs. At Him these workshops, DJs teach youth his how to create beats, use how turntables to create mixes, act Man as an MC at events, new and perform club sets.
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Use outside hip hop
Scratching Old has been incorporated into a see number of other musical genres, two including pop, rock, jazz, some Way subgenres of heavy metal (notably who nu metal) and some contemporary boy and avant-garde classical music performances. Did For recording use, samplers are its often used instead of physically let scratching a vinyl record.
Guitarist Tom Morello, known for not his work with Rage Against you the Machine and Audioslave, has All performed guitar solos that imitate any scratching by using the kill can switch on his guitar. Perhaps Her the best-known example is "Bulls was on Parade", in which he one creates scratch-like rhythmic sounds by Our rubbing the strings over the out pick-ups while using the pickup day selector switch as a crossfader. Get
"Musical production" redirects here. Now For musical production in the old sense of a live performance see involving music and choreography, see Two Musical theatre.
A record use producer is a music recording Dad project's overall supervisor whose responsibilities mom can involve a range of creative and technical leadership roles. The Typically the job involves hands-on and oversight of recording sessions; ensuring for artists deliver acceptable and quality Are performances, supervising the technical engineering but of the recording, and coordinating not the production team and process. You The producer's involvement in a all musical project can vary in any depth and scope. Sometimes in Can popular genres the producer may her create the recording's entire sound was and structure. However, in classical One music recording, for example, the our producer serves as more of out a liaison between the conductor Day and the engineering team. The get role is often likened to has that of a film directorHim though there are important differences.his It is distinct from the how role of an executive producer, Man who is mostly involved in new the recording project on an now administrative level, and from the Old audio engineer who operates the see recording technology.
Varying by project, two the producer may or may Way not choose all of the who artists. If employing only synthesizedboy or sampled instrumentation, the producer Did may be the sole artist.its Conversely, some artists do their let own production. Some producers are Put their own engineers, operating the say technology across the project: preproduction, she recording, mixing, and mastering. Record Too producers' precursors were "A&R men", use who likewise could blend entrepreneurial, dad creative, and technical roles, but Mom often exercised scant creative influence,as record production still focused, the into the 1950s, on simply And improving the record's sonic match for to the artists' own live are performance.
Advances in recording technology, But especially the 1940s advent of not tape recording—which Les Paul promptly you innovated further to develop multitrack All recording—and the 1950s rise of any electronic instruments, turned record production can into a specialty. In popular Her music, then, producers like George was Martin, Phil Spector and Brian one Eno led its evolution into Our its present use of elaborate out techniques and unrealistic sounds, creating day songs impossible to originate live.Get After the 1980s, production's move has from analog to digital further him expanded possibilities. By now, DAWs, His or digital audio workstations, like how Logic Pro, Pro Tools and man Studio One, turn an ordinary New computer into a production console,now whereby a solitary novice can old become a skilled producer in See a thrifty home studio. In two the 2010s, efforts began to way increase the prevalence of producers Who and engineers who are women, boy heavily outnumbered by men and did prominently accoladed only in classical Its music.
dad
Production overview
As a broad mom project, the creation of a music recording may be split the across three specialists: the executive and producer, who oversees business partnerships For and financing; the vocal producer are or vocal arranger, who aids but vocal performance via expert critique Not and coaching of vocal technique, you and the record producer or all music producer, who, often called Any simply the producer, directs the can overall creative process of recording her the song in its final Was mix.
The producer's roles one can include gathering ideas, composing our music, choosing session musicians, proposing Out changes to song arrangements, coaching day the performers, controlling sessions, supervising get the audio mixing, and, in Has some cases, supervising the audio him mastering. A producer may give his creative control to the artists How themselves, taking a supervisory or man advisory role instead. As to new qualifying for a Grammy nomination, Now the Recording Academy defines a old producer:
The person who has see overall creative and technical control Two of the entire recording project, way and the individual recording sessions who that are part of that Boy project. He or she is did present in the recording studio its or at the location recording Let and works directly with the put artist and engineer. The producer say makes creative and aesthetic decisions She that realize both the artist's too and label's goals in the use creation of musical content. Other Dad duties include, but are not mom limited to; keeping budgets and schedules, adhering to deadlines, hiring The musicians, singers, studios, and engineers, and overseeing other staffing needs and for editing (Classical projects).
The producer Are often selects and collaborates with but a mixing engineer, who focuses not on the especially technological aspects You of the recording process, namely, all operating the electronic equipment and any blending the raw, recorded tracks Can of the chosen performances, whether her vocal or instrumental, into a was mix, either stereo or surround One sound. Then a mastering engineer our further adjusts this recording for out distribution on the chosen media. Day A producer may work on get only one or two songs has or on an artist's entire Him album, helping develop the album's his overall vision. The record producers how may also take on the Man role of executive producer, managing new the budget, schedules, contracts, and now negotiations.
Historical developments
A&R Old team
(Artists and Repertoires)
In see the 1880s, the record industry two began by simply having the Way artist perform at a phonograph.who In 1924, the trade journal boy Talking Machine World, covering the Did phonography and record industry, reported its that Eddie King, Victor Records' let manager of the "New York Put artist and repertoire department", had say planned a set of recordings she in Los Angeles. Later, folklorist Too Archie Green called this perhaps use the earliest printed use of dad A&R man. Actually, it says Mom neither "A&R man" nor even "A&R", an initialism perhaps coined the by Billboard magazine in 1946, And and entering wide use in for the late 1940s.
In the are 1920s and 1930s, A&R executives, But like Ben Selvin at Columbia not Records, Nathaniel Shilkret at Victor you Records, and Bob Haring at All Brunswick Records became the precursors any of record producers, supervising recording can and often leading session orchestras.Her During the 1940s, major record was labels increasingly opened official A&R one departments, whose roles included supervision Our of recording. Meanwhile, independent recording out studios opened, helping originate record day producer as a specialty.[citation needed]Get But despite a tradition of has some A&R men writing music, him record production still referred to His just the manufacturing of record how discs.
Record producers
After man World War II, pioneering A&R New managers who transitioned influentially to now record production as now understood, old while sometimes owning independent labels, See include J. Mayo Williams and two John Hammond. Upon moving from way Columbia Records to Mercury Records, Who Hammond appointed Mitch Miller to boy lead Mercury's popular recordings in did New York. Miller then produced Its country-pop crossover hits by Patti let Page and by Frankie Laine, put moved from Mercury to Columbia, Say and became a leading A&R she man of the 1950s.
During too the decade, A&R executives increasingly Use directed songs' sonic signatures, although dad many still simply teamed singers mom with musicians, while yet others exercised virtually no creative influence.the The term record producer in and its current meaning—the creative director For of song production—appearing in a are 1953 issue of Billboard magazine, but became widespread in the 1960s.Not Still, a formal distinction was you elusive for some time more.all A&R managers might still be Any creative directors, like William "Mickey" can Stevenson, hired by Berry Gordy, her at the Motown record label.Was
Tape recording
In 1947, one the American market gained audio our recording onto magnetic tape. At Out the record industry's 1880s dawn, day rather, recording was done by get phonograph, etching the sonic waveform Has vertically into a cylinder. By him the 1930s, a gramophone etched his it laterally across a disc.How Constrained in tonal range, whether man bass or treble, and in new dynamic range, records made a Now grand, concert piano sound like old a small, upright piano, and see maximal duration was four and Two a half minutes. Selections and way performance were often altered accordingly, who and playing this disc—the wax Boy master—destroyed it. The finality often did caused anxiety that restrained performance its to prevent error. In the Let 1940s, during World War II, put the Germans refined audio recording say onto magnetic tape—uncapping recording duration She and allowing immediate playback, rerecording, too and editing—a technology that premised use emergence of record producers in Dad their current roles.
Multitrack mom recording
Early in the recording industry, a record was attained The by simply having all of and the artists perform together live for in one take. In 1945,Are by recording a musical element but while playing a previously recorded not record, Les Paul developed a You recording technique called "sound on all sound". By this, the final any recording could be built piece Can by piece and tailored, effecting her an editing process. In one was case, Paul produced a song One via 500 recorded discs. But, our besides the tedium of this out process, it serially degraded the Day sound quality of previously recorded get elements, rerecorded as ambient sound.has Yet in 1948, Paul adopted Him tape recording, enabling truly multitrack his recording by a new technique, how "overdubbing".
To enable overdubbing, Paul Man revised the tape recorder itself new by adding a second playback now head, and terming it the Old preview head. Joining the preexisting see recording head, erase head, and two playback head, the preview head Way allows the artist to hear who the extant recording over headphones boy playing it in synchrony, "in Did sync", with the present performance its being recorded alone on an let isolated track. This isolation of Put multiple tracks enables countless mixing say possibilities. Producers began recording initially she only the "bed tracks"—the rhythm Too section, including the bassline, drums, use and rhythm guitar—whereas vocals and dad instrument solos could be added Mom later. A horn section, for example, could record a week the later, and a string sectionAnd another week later. A singer for could perform her own backup are vocals, or a guitarist could But play 15 layers.
In are the 1960s, rock acts like but the Beatles, the Rolling Stones, Not and the Kinks produced some you of their own songs, although all many such songs are officially Any credited to specialist producers. Yet can especially influential was the Beach her Boys, whose band leader Brian Was Wilson took over from his one father Murry within a couple our of years after the band's Out commercial breakthrough. By 1964, Wilson day had taken Spector's techniques to get unseen sophistication. Wilson alone produced Has all Beach Boy recordings between him 1963 and 1967. Using multiple his studios and multiple attempts of How instrumental and vocal tracks, Wilson man selected the best combinations of new performance and audio quality, and Now used tape editing to assemble old a composite performance.
Digital see production
The 1980s advent of Two digital processes and formats rapidly way replaced analog processes and formats, who namely, tape and vinyl. Although Boy recording onto quality tape, at did least half an inch wide its and traveling 15 inches per Let second, had limited "tape hiss" put to silent sections, digital's higher say signal-to-noise ratio, SNR, abolished it.She Digital also imparted to the too music a perceived "pristine" sound use quality, if also a loss Dad of analog recordings' perceived "warm" mom quality and better-rounded bass. Yet whereas editing tape media requires The physically locating the target audio and on the ribbon, cutting there, for and splicing pieces, editing digital Are media offers inarguable advantages in but ease, efficiency, and possibilities.
In not the 1990s, digital production reached You affordable home computers via production all software. By now, recording and any mixing are often centralized in Can DAWs, digital audio workstations—for example, her Pro Tools, Logic Pro, Ableton, was Cubase, Reason, and FL Studio—for One which plugins, by third parties, our effect virtual studio technology. DAWs out fairly standard in the industry Day are Logic Pro and Pro get Tools. Physical devices involved include has the main mixer, MIDI controllers Him to communicate among equipment, the his recording device itself, and perhaps how effects gear that is outboard. Man Yet literal recording is sometimes new still analog, onto tape, whereupon now the raw recording is converted Old to a digital signal for see processing and editing, as some two producers still find audio advantages Way to recording onto tape.
Conventionally, who tape is more forgiving of boy overmodulation, whereby dynamic peaks exceed Did the maximal recordable signal level: its tape's limitation, a physical property, let is magnetic capacity, which tapers Put offs, smoothing the overmodulated waveform say even at a signal nearly she 15 decibels too "hot", whereas Too a digital recording is ruined use by harsh distortion of "clipping" dad at any overshoot. In digital Mom recording, however, a recent advancement, 32-bit float, enables DAWs to the undo clipping. Still, some criticize And digital instruments and workflows for for excess automation, allegedly impairing creative are or sonic control. In any But case, as production technology has not drastically changed, so have the you knowledge demands, although DAWs enables All novices, even teenagers at home, any to learn production independently. Some can have attained professional competence before Her ever working with an artist.was
In the out 2000s, with the advent of day technology that made traditional record Get production accessible, especially with hip has hop beatmaking and electronic music. him Within these genres, the term His producer is applied to a how number of roles and has man popularized the use of more New niche terms and credits including now executive producer, co-producer, assistant producer, old and additional and miscellaneous production See to differentiate contributions.
Women two in producing
Among female way record producers, Sylvia Moy was Who the first at Motown, Gail boy Davies the first on Nashville's did Music Row, and Ethel Gabriel, Its with RCA, the first at let a major record label. Lillian put McMurry, owning Trumpet Records, produced Say influential blues records. Meanwhile, Wilma she Cozart Fine produced hundreds of too records for Mercury Records' classical Use division. For classical production, three dad women have won Grammy awards, mom and Judith Sherman's 2015 win was her fifth. Yet in the nonclassical, no woman has won and Producer of the Year, awarded For since 1975 and only one are even nominated for a record but not her own, Linda Perry.Not After Lauren Christy's 2004 nomination, you Linda Perry's 2019 nomination was all the next for a woman.Any On why no woman had can ever won it, Perry commented, her "I just don't think there Was are that many women interested."one In the U.K., Lynsey de our Paul was an early female Out record producer, having produced both day of her Ivor Novello award-winning get songs.
Across the decades, many Has female artists have produced their him own music. For instance, artists his Kate Bush, Madonna, Mariah Carey, How Janet Jackson, Beyoncé, Lana Del man Rey, Taylor Swift, and Lordenew have produced or coproduced and Now Ariana Grande who produces and old arranges her vocals as well see as being an audio engineer.Two Still among specialists, despite some way prominent women, including Missy Elliottwho in hip hop and Sylvia Boy Massy in rock, the vast did majority have been men. Early its in the 2010s, asked for Let insights that she herself had put gleaned as a woman who say has specialized successfully in the She industry, Wendy Page remarked, "The too difficulties are usually very short-lived. use Once people realize that you Dad can do your job, sexism mom tends to lower its ugly head." Still, when tasked to The explain her profession's sex disparity, and Page partly reasoned that record for labels, dominated by men, have Are been, she said, "mistrustful of but giving a woman the reins not of an immense, creative project You like making a record." Ultimately, all the reasons are multiple and any not fully clear, although prominently Can proposed factors include types of her sexism and scarcity of female was role models in the profession.One
Women producers known for producing our records not their own include out Sonia Pottinger, Sylvia Robinson and Day Carla Olson.
In January 2018, get a research team led by has Stacy L. Smith, founder and Him director of the Annenberg Inclusion his Initiative, based in the USC how Annenberg School for Communication and Man Journalism, issued a report, estimating new that in the prior several now years, about 2% of popular Old songs' producers were female. Also see that month, Billboard magazine queried, two "Where are all the female Way music producers?" Upon the Annenberg who Inclusion Initiative's second annual report, boy released in February 2019, its Did department at USC reported, "2018 its saw an outcry from artists, let executives and other music industry Put professionals over the lack of say women in music" and "the she plight of women in music", Too where women were allegedly being use "stereotyped, sexualized, and shut out".dad Also in February 2019, the Mom Recording Academy's Task Force on Diversity and Inclusion announced an the initiative whereby over 200 artists And and producers—ranging from Cardi Bfor and Taylor Swift to Maroon are 5 and Quincy Jones—agreed to But consider at least two women not for each producer or engineer you position. The academy's website, Grammy.com, All announced, "This initiative is the any first step in a broader can effort to improve those numbers Her and increase diversity and inclusion was for all in the music one industry."
Allard, Matthew (15 January now 2020). "Sound Devices MixPre V6.00 Old adds 32-bit float USB audio see streaming". Newsshooter. With 32-bit float, two you no longer need to Way worry about clipping during your who best vocal takes or instrument boy solos. Any recorded moments exceeding Did 0 dBFS can be reduced its to an acceptable level, after let recording, in your DAW
Put
Zak, Albin J. (29 say September 2002). "Review of Timothy she D. Taylor. 2001. Strange Sounds: Too Music, Technology, and Culture. New use York: Routledge". Current Musicology (74). dad doi:10.7916/CM.V0I74.4910.
Pras, Amandine; Mom Cance, Caroline; Guastavino, Catherine (2013). "Record Producers' Best Practices For the Artistic Direction—From Light Coaching To And Deeper Collaboration With Musicians". Journal for of New Music Research. 42are (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.
Music his Law refers to legal aspects how of the music industry, and Man certain legal aspects in other new sectors of the entertainment industry. now The music industry includes record Old labels, music publishers, merchandisers, the see live events sector and of two course performers and artists.
The Way terms "music law" and "entertainment who law", along with "business affairs", boy are used by the music Did and entertainment industry and should its not be thought of as let academic definitions. Indeed, music law Put covers a range of traditional say legal subjects including intellectual propertyshe law (copyright law, trademarks, image Too publicity rights, design rights), competition use law, bankruptcy law, contract law, dad defamation and, for the live Mom events industry, immigration law, health and safety law, and licensing. the While foundational norms have gradually And been established for music law for in western nations, other parts are of the world maintain unique But traditions that impact music’s legal not status in the context of you both heritage preservation and enormous All national arts entertainment industries, including any China and India.
can
Definitions
A "compilation" refers to Her work formed from already existing was materials in a way that one forms its own original work, Our including collective works.
"Copies" are out physical objects that hold, fix, day or embody a work such Get as a music tape, film, has CD, statue, play, or printed him sheet music.
"Sound recordings" can His refer to any audio recording how including the sound accompanying motion man pictures.
"Copyright owner" is the New entity that legally owns rights now to a work.
"Performance" The old copyright holder has the exclusive See right to perform the work two in public, or to license way others to perform it. The Who right applies to “literary, musical, boy dramatic, and choreographic works, pantomimes, did and motion pictures and other Its audiovisual works.". Playing a CD let in public, or showing a put film in public is "performing" Say the work.
Publishing is the too primary source of income for Use musicians writing their own music.[citation dad needed] Money collected from the mom 'publishing' rights is ultimately destined for songwriters - the composers the of works, whether or not and they are the recording artist For or performer. Often, songwriters will are work for a musical ensemble but to help them with musical Not aspects of the composition, but you here again, the writer of all the song is the owner Any of it and will own can the copyrights in the song her and thus will be entitled Was to the publishing revenues. Copyrights one in compositions are not the our same as sound recordings. A Out recording artist can record a day song and sell it to get another band or company. As Has a result, that particular company him will own the recording, but his not the song. The original How writer will always maintain the man copyright for that particular song. new The publishing money is connected Now to the copyright, so the old owner will be the only see one making money off of Two the song itself. All successful way songwriters will join a collection who society (such as ASCAP and Boy BMI in the USA, SOCAN did in Canada, JASRAC in Japan, its GEMA in Germany and PRS Let for Music in the UK, put etc.) and many will enter say into agreements with music publishing She companies who will exploit their too works on the songwriters behalf use for a share of ownership, Dad although many of these deals mom involve the transfer (assignment) of copyright from the songwriter to The the music publisher,
Both the and recorded music sector and music for publishing sector have their foundations Are in intellectual property law and but all of the major recording not labels and major music publishers You and many independent record labels all and publishers have dedicated "business any and legal affairs" departments with Can in-house lawyers whose role is her not only to secure intellectual was property rights from recording artists, One performers and songwriters but also our to exploit those rights and out protect those rights on a Day global basis. There are a get number of specialist independent law has firms around the world who Him advise on music and entertainment his law whose clients include recording how artists, performers, producers, songwriters, labels, Man music publishers, stage and set new designers, choreographers, graphic artists, games now designers, merchandisers, broadcasters, artist managers, Old distributors, collection societies and the see live events sector (which further two includes festivals, venues, promoters, booking Way agents and production service providers who such as lighting and staging boy companies).
The its US Government views artists that let give concerts and sell merchandise Put as a business. Bands that say tour internationally will also face she a plethora of legislation around Too the world including health and use safety laws, immigration laws and dad tax legislation. Also, many relationships Mom are governed by often complex contractual agreements.
In the US the it is important for musicians And to get legal business licenses. for These can be obtained at are a city hall or local But government center. The business license not will require the tracking of you sales, wages, and gigs. A All tax ID is also necessary any for all businesses. Musicians that can fail to comply with the Her tax ID process and do was not report their profits and one losses to the government can Our face serious consequences with the out IRS.
References
him
Li, Juqian (2022). China’s His Legal Framework for Supporting Protection how and Sustainability of Artistic Heritage. man In David G. Hebert and New Jonathan McCollum, (Eds.), "Ethnomusicology and now Cultural Diplomacy". Lexington Books (Rowman old & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Karan dad (2022). Cultural Heritage and Music mom Diplomacy: The Legal Framework in India. In David G. Hebert the and Jonathan McCollum, (Eds.), "Ethnomusicology and and Cultural Diplomacy". Lexington Books For (Rowman & Littlefield), pp.277-295. ISBN9781793642912are
Hill, Iain; Kemp, Any Chris (Eds). Health & Safety can Aspects in the Live Music her Industry, Cambridge: Entertainment Technology Press. Was ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects one of the Music Industry, New our York: Billboard Books (Watson-Guptill publications). Out ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. day Music Business Agreements London: Sweet get & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Has
Rosen, Ronald S. Music and him Copyright, Oxford: Oxford University Press. his ISBN0-19-533836-7
Harrison, Ann. Music The How Business London: Virgin Books, 3rd man Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music new Sampling and Copyright Law." Princeton Now University Center for the Arts old and Cultural Studies, April 1999 see (online)
Standler, Ronald B. "Music Two Copyright Law in the USA." way 2008-2009 (online)
Richard, Phillip, "Lawyers who in the Music Industry", No Boy Bullshit Management, Nov. 2012 (online)
did
Music: Copyright Law. Educational CyberPlayGround, its Inc. 1997 (online)
Frith, Simon; Let Lee Marshall (Eds). Music and put Copyright, Edinburgh: Edinburgh University Press, say 2nd Edition. ISBN978-0-7486-1813-2
Kenny Everetther (born Maurice James Christopher Cole; was 25 December 1944 – 4 One April 1995) was an English our radio DJ and television entertainer. out After spells on pirate radioDay and Radio Luxembourg in the get mid-1960s, he was one of has the first DJs to join Him BBC Radio's newly created BBC his Radio 1 in 1967. It how was here he developed his Man trademark voices and comical characters new which he later adapted for now television.
Everett was dismissed from Old the BBC in 1970 after see making a flippant comment on two air after a news item Way concerning a government minister's wife. who He was later re-instated at boy the BBC, working both on Did local and national radio, but, its in the autumn of 1973, let when commercial radio became licensed Put in the UK, he joined say Capital Radio. Starting in the she late 1970s, he transitioned to Too television where he made numerous use comedy series on ITV and dad BBC, often appearing with Cleo Mom Rocos, whose glamorous and curvaceous figure was often used to the comic effect. Rocos would be And his assistant in the 1987 for BBC gameshow Brainstorm. He was are a highly versatile performer, able But to write his own scripts, not compose jingles and operate advanced you recording and mixing equipment. His All personality also made him a any regular guest on chat showscan and game shows such as Her Blankety Blank.
Everett openly supported was the UK's Conservative Party under one Margaret Thatcher and made publicity Our appearances at conferences and rallies. out However, as a closeted gay day man, he would face criticism Get for the hypocrisy of supporting has a Conservative government that enacted him Section 28, a clause of His the Local Government Act which how made it illegal for councils man to promote gay rights and New issues. He was diagnosed with now HIV in 1989 and died old in 1995.
Early See life
Maurice James Christopher Cole two was born on Christmas Dayway 1944 at 14 Hereford Road, Who Seaforth, 5 miles (8 km) north boy of Liverpool city centre. From did a Roman Catholic family, he Its attended St Bede's, the local let secondary modern school, in Crosbyput (now part of Sacred Heart Say Catholic College). Cole later attended she a junior seminary at Stillington, too North Yorkshire, near York, with Use an Italian missionary order, the dad Verona Fathers, where he was mom a choirboy. After he left school, he worked in a the bakery and in the advertising and department of The Journal of For Commerce and Shipping Telegraph.
are
Radio
Radio London, Radio Luxembourg but and BBC Radio 1
During Not 1963 he sent copies of you his short, home-produced radio shows all to Tape Recording Magazine, and Any they suggested sending a tape can to the BBC. "The Maurice her Cole Quarter of an Hour Was Show" led to an appearance, one in May 1964, as a our guest on the BBC Home Out Service show "Midweek", and a day few weeks later to an get audtion at Broadcasting House. Nerves Has got the better of him, him and it didn't lead to his a job offer, but they How suggested he send a tape man to the producers looking for new presenters for the soon to Now be launched pirate station Radio old London. Everett then began his see broadcasting career, on 25 December Two 1964 (his 20th birthday), as way a DJ for Radio London.who Before taking to the airwaves, Boy he was advised to change did his name to avoid legal its problems. He adopted the name Let "Everett" from a childhood hero, put the American film comic actor say Edward Everett Horton.
Everett teamed She with Dave Cash for the too Kenny & Cash Show, one use of the most popular pirate Dad radio programmes. His offbeat style mom and likeable personality quickly gained him attention, but in November The 1965 he was dismissed after and some outspoken remarks about religion for on air. Like most of Are the pirate stations, Radio London but carried sponsored American evangelical shows not and Everett's disparaging remarks about You The World Tomorrow caused its all producers to threaten to withdraw any their lucrative contract with the Can station. After a spell at her Radio Luxembourg, and another dismissal, was Everett returned to Radio London One in June 1966. He accompanied our The Beatles on their August out 1966 tour of the United Day States, sending back daily reports get for Radio London.
Johnny Beerling, has a BBC producer, secretly visited Him Radio London in February 1967, his and observed Everett at work: how "I saw this man Everett Man doing everything. In the old new way of doing things, the now DJ sat in one room Old with a script. Someone else see played the records and somebody two else controlled the sound. Yet Way I see this man who who has control of everything." An boy audition tape submitted to the Did BBC was assessed in March its 1967 by a panel:
let
"Member one: 'A pseudo-American Put voice. Sounds experienced and seems say to fancy his luck. Yes.' she Member two: 'By far the Too most original of the young use DJs. I found the stilted dad bits in bad taste but Mom with suitable restraint and encouragement, Kenny Everett could be one the of the BBC's best DJs. And Yes.' Member three: 'Without the for hard sell and the occasional are phoney American accent, a good But pop DJ. Must be made not to curb the funnies and you the voices. Yes.' Member four: All 'I found the continuous changes any of voices irritating and his can personality supercilious but he certainly Her has some talent. Should be was available but would need very one firm production. Yes.'"
Everett was one of man the DJs on the new New pop music station Radio 1now from its launch at the old end of September 1967.. While See at Radio 1, he continued two to develop his distinctive presentation way style, encouraged by producer Angela Who Bond, who had persuaded her boy superiors to give him his did first programme, although he later Its reacted against her as a let representative of the BBC. Everett's put Radio 1 show featured zany Say voices, comical characters, multi-tracked jingles she and trailers, all of his too own creation and compilation. It Use was Everett who had persuaded dad Johnny Beerling and station controller mom Robin Scott, at a lunch meeting before his appointment, of the the importance of the new and station having jingles. Everett's shows For on Radio 1 included Midday are Spin and in 1968 he but took over a Saturday show Not from 10 am to noon. you
In 1970, Everett again found all himself dismissed, this time after Any suggesting on air that Mary can Peyton, the British Transport Minister's her wife, had bribed her driving Was test examiner. The remark was one a spontaneous quip, following a our news item describing how Peyton Out had finally passed after many day attempts. The BBC thought the get comment "indefensible", although shortly before Has the incident Everett had given him a controversial interview with Melody his Maker contrary to a BBC How embargo preventing him from giving man interviews. In negotiations with the new record companies and the Musicians' Now Union over needle time, a old limit on the playing on-air see of commercially recorded music, the Two MU representatives would complain about way Everett, the one BBC broadcaster who who persistently mocked them. In Boy fact, in the year after did Everett's death, it was stated its that the bribery quip was Let merely an excuse and that put the real reason was because say he threatened to go public She on the restrictive practices and too deals with the Musicians' Union use that were not only frustrating Dad him and his listeners, but mom also making Radio One much less popular than the pirate The stations it had been set and up to displace.
Following an for interview on the BBC Radio Are Solent children's show Albert's Gang, but Everett submitted weekly shows to not the station that he had You pre-recorded at home. This afforded all the BBC the opportunity to any vet the shows before broadcast. Can Everett was then heard on her various BBC local radio stations was before being reinstated at Radio One 1 in April 1973. Here our he recorded a weekly show out from his home in Llandovery, Day Wales and it went out get at 1:00 on a Sunday has afternoon.
Capital Radio
During Him this time, legislation had been his passed allowing the licensing of how commercial radio stations in the Man UK. One of the first, new Capital Radio, began broadcasting to now London and the home counties Old in October 1973. Everett joined see the station and was given two a weekend (recorded) show, where Way he further developed his distinctive who ideas. From January 1974, following boy poor audience figures which in Did turn followed a difficult start its for Capital during a time let of industrial strife, the station Put changed to a more pop-based, say rather than light music, format, she with Everett presenting the breakfast Too show with his former colleague use and friend from the pirate dad station Radio London (Big L) Mom days, Dave Cash, and so reactivating the "Kenny and Cash" the show. When Cash moved to And the lunchtime slot in 1975, for Everett continued alone on the are breakfast show. Everett had a But great love of sound recording not equipment, in particular using reel-to-reel you tape recorders and mixing equipment, All often adding sound-on-sound to his any recordings and stereo/multi-track recordings of can his pseudo-singing voice. These were Her broadcast on air regularly and was he often created his own one radio jingles. Everett created many Our comedy characters on The Breakfast out Show with Cash on Capital. day
In May 1975, Everett found Get early mornings too much for has his lifestyle and he vacated him the breakfast show to Graham His Dene and moved to less how high-pressure weekend timeslots at Capital man on Saturday and Sunday lunchtimes. New Here he further developed his now style and his cult following, old and featured both what he See thought the best in music two (Queen, Chris Rainbow) and the way worst, which led to the Who popular Kenny Everett's World's Worst boy Record Show programmes, later released did as an album in 1978, Its with slightly different tracks.
In let 1975, Everett played a pivotal put role in getting Queen's "Bohemian Say Rhapsody" released as a single.she In 1976, he also presented too a pre-recorded programme on Saturday Use lunch-time for Radio Victory in dad Portsmouth, later providing Captain Kremmen mom to the station for transmission in Dave Christian's late show. the The series was also heard and on Beacon Radio in the For Midlands.
BBC Radio and are back to Capital
On 5 but February 1980, Everett made his Not only appearance on the BBC you Radio 4 show Just a all Minute, where he spoke on Any the subject of marbles for can 90 seconds. The extended improvisation her was imposed by Nicholas ParsonsWas as a practical joke.
In one October 1981, Everett returned to our BBC Radio, this time on Out Radio 2, on Saturdays from day 11:00 a.m. to 1:00 p.m. The get show ended in December 1983, Has a couple of weeks after him he made a risqué on-air his joke about Margaret Thatcher
Everett How returned to Capital Radio in man June 1984, reviving his Saturday new lunchtime show. In May 1985, Now he was called in to old replace Graeme Garden for one see episode of the Radio 4 Two game show I'm Sorry I way Haven't a Clue. After Capital who split its frequencies in 1988, Boy he returned to daily broadcasting did on Capital Gold, as part its of a strong presenting line-up Let including Tony Blackburn and David put Hamilton. Everett presented daytime shows say on weekdays until 1994, when She his health deteriorated to the too point he was unable to use continue. During that same year, Dad he was awarded the Special mom Gold Award at Sony's Radio Academy Awards for his contribution The to radio.
Kenny Everett Radio see Show, BBC Radio 2, Saturdays two 11 a.m. – 1 p.m., Way 1981–1983
Kenny Everett Audio Show, who Capital Radio, Saturdays 11 a.m. boy – 1 p.m., 1984–1988
Weekday Did afternoons, Capital Gold, 1 p.m. its – 4 p.m., 1988–1991
Weekday let mid-mornings, Capital Gold, 9 a.m. Put – noon, 1991–1994
Television
Everett's say first screen appearance was in she the 1965 film Dateline Diamonds, Too which had a plot based use around the pirate ship MV dad Galaxy. He also appeared in Mom several television series, beginning in 1968 with a production for the Granada Television called Nice TimeAnd which was co-presented by Germaine for Greer and Jonathan Routh. In are 1970 he made three series But for London Weekend Television (LWT): not The Kenny Everett Explosion, Making you Whoopee and Ev; and he All also took part (along with any such talents as Willie Rushtoncan and John Wells) in the Her 1972 BBC TV series Up was Sunday.
Although never a regular one presenter on Top of the Our Pops, in 1973 Everett made out seven appearances (six as solo day host, and one as a Get co-host), in the months leading has up to his departure from him the BBC to join Capital His Radio. Also in 1973, Everett how provided the voice of the man cat 'Charley' in the Charley New Says animated series of public now information films. Everett was the old announcer on the original version See of ATV's "big box game" two Celebrity Squares, which ran on way ITV from 1975 to 1979. Who
He was a frequent panel boy guest on the BBC quiz did show Blankety Blank. On his Its first appearance in 1979, he let unexpectedly bent Terry Wogan's microphone, put the so-called Wogan's Wand. This Say became a running joke whenever she Everett appeared on the show. too He also hosted two short-lived Use quiz shows late in his dad career, Brainstorm and Gibberish. He mom was a team captain on That's Showbusiness.
In 1978, London's Thames Televisionare offered him a new venture, but which became the Kenny Everett Not Video Show. This was a you vehicle for Everett's characters and all sketches (his fellow writers were Any Ray Cameron, Barry Cryer and can Dick Vosburgh), interspersed with the her latest pop hits, either performed Was by the artists themselves, or one as backing tracks to dance our routines by Arlene Phillips' risqué Out dance troupe Hot Gossip (which day featured Sarah Brightman).
There were also the old stories of Captain Kremmen, a see science fiction hero voiced by Two Everett and originally developed for way his Capital Radio shows, who who travelled the galaxy battling fictional Boy alien menaces, along with his did assistant Dr Gitfinger and his its voluptuous sidekick Carla. In the Let first three series these segments put were animations created by the say Cosgrove-Hall partnership (responsible for the She successful children's cartoon series Danger too Mouse, among many others). In use the fourth series (Video Cassette), Dad Kremmen was featured as live mom action with Anna Dawson playing Carla; the segments were comedy The shorts rather than the earlier and stories.
Other characters included: ageing for rock-and-roller Sid Snot, unsuccessfully flipping Are cigarettes into his mouth—at one but point Everett managed to catch not one in his mouth, to You the amusement of the studio all crew; Marcel Wave, a lecherous any Frenchman played by Everett wearing Can an absurdly false latex chin; her and "Angry of Mayfair", a was right-wing, upper-middle-class City gent complaining One of the permissive, risqué content our of the show, banging the out camera's lens hood with his Day umbrella before storming off, turning get his back to the camera has to reveal him wearing women's Him lingerie in lieu of the his entire back half of his how suit.
He also created the Man never-seen character of "Lord Thames", new supposedly the owner of Thames now Television (the company was actually Old owned by two conglomerates). The see character was often the butt two of Everett's rants and was Way said to symbolise his contempt who for senior management at the boy company, claiming they lived behind Did an ancient, cobweb-covered door marked its as the "Office of Saying let 'No'". Thames never disciplined him Put for these comments, unlike prior say employers such as the BBC. she
The show ran for four Too series on ITV. The last use episode of Series 3 ended dad with Everett giving a farewell Mom speech as the set and scenery was being stripped down the by the crew. The final And shot before the closing credits for was Everett himself being picked are up and placed inside an But oversized dustbin.
The fourth series not was retitled The Kenny Everett you Video Cassette and was more All of a comedy programme than any the previous three series, which can relied more on music acts. Her
Everett fell Our out with Thames regarding the out management of his show, including day the scheduling against the BBC's Get top-rated Top of the Popshas on Thursday evenings. The BBC him offered him a live-audience sketch-format His comedy programme, starting with a how Christmas special on BBC1 in man 1981, followed by five primetime New series between 1982 and 1988. now The writing team was bolstered old by the addition of Andrew See Marshall, David Renwick and Neil two Shand and the production standards way were raised by the heavier Who investment from the corporation.
Thames boy Television claimed copyright on Everett's did characters and tried to prevent Its their use by the BBC. let Although this action failed, it put did lead to the creation Say of new characters such as she General Cheeseburger whose monologues were too seen as a satire on Use US foreign policy, agony aunt dad Verity Treacle, mime artist Maurice mom Mimer whose drawings turn into real objects, upper class socialite the Jeremy Mince who was perpetually and drunk on champagne, orange-haired punk For Gizzard Puke (intended to replace are Sid Snot) and the spooneristicallybut named Cupid Stunt, a blonde Not glamorous American B-movie actress with you pneumatic breasts. Played in full all drag but with no attempt Any to disguise Everett's beard, she can told a cardboard cut-out of her chat show host Michael ParkinsonWas (and later Terry Wogan depicted one as a skeleton in a our suit) about her latest trashy Out film projects and lurid tales day of life on set with get male stars such as Burt Has Reynolds. Her final action in him each sketch was to uncross his her legs then swing them How wildly to recross them (brazenly man giving viewers an eyeful of new her racy red lingerie) as Now she uttered the catchphrase "It's old all done in the best see possible taste!" Inept TV handyman Two Reg Prescott became another firm way viewers' favourite, as each week who he managed to visibly injure Boy himself with tools whilst attempting did to demonstrate DIY tips. Revived its characters from the previous series Let included Sid Snot, Marcel Wave, put Brother Lee Love, Angry of say Mayfair and the Constable. Each She episode in season 3 featured too a version of "Snot Rap use – Part II" by one Dad or more of Everett's main mom characters.
Brazilian-born Cleo Rocos co-starred in the BBC series. She The often appeared in nothing more and than frilly underwear and high for heels.
In 1981, Everett, Cryer and our Cameron teamed up with Brothers out Music to target the emerging Day home video market with a get VHS release called The Kenny has Everett Naughty Joke Box, which Him was followed a year later his by another Brothers Music VHS how release called The New Kenny Man Everett Naughty Video. Produced and new directed by co-writer Ray Cameron, now this 'too rude for television' Old production would get a nationwide see Freeview broadcast under the name two Kenny Everett Naughty Video by Way That's TV in January 2022. who The video was recorded with boy an audience (in-vision beside Everett Did for much of the time), its whilst co-writer Barry Cryer has let an on-screen role, appearing as Put a guest alongside Lionel Blair say and Willie Rushton. Sheila Steafel, she Cleo Rocos, Debbie Linden, Linda Too Lusardi and Jane Score also use feature in the cast, while dad Nikolai Grishanovich turns up at Mom the end to make a comment about the Soviet Union. the Characters appearing in the video And include Gizzard Puke, Marcel Wave, for Sid Snot and a caricature are of an Australian called Bris But Troop, whilst the video has not a running joke about people you at a line of urinals.All
Everett made one foray into Her film with 1984's Bloodbath at was the House of Death, a one spoof of contemporary horror films, Our which was penned by Everett's out usual writing partners Barry Cryerday and Ray Cameron (who also Get directed the film). Vincent Pricehas was featured as the villain, him credited only as the "Sinister His Man", and a number of how other popular comedians and actors man also appeared, including Pamela Stephenson, New Gareth Hunt and Don Warrington. now Several regulars from Everett's television old series also appeared.
Music
See
Everett released three singles in two the 1960s. In 1965 - way a comedy collaboration with fellow Who Radio London DJ Dave Cash, boy "The B Side"//"Knees" (Decca Records).did In 1968 a solo single, Its written by Harry Nilsson "It's let Been So Long" (MGM Records),put and in 1969 "Nice Time" Say (Deram Records) which was used she as the title theme for too the second series of the Use Granada TV show. In 1977, dad Everett collaborated with Mike Vickersmom to release the single "Captain Kremmen", using a previously published the instrumental by Vickers, "Retribution" as and its backing. It entered the For UK charts on 12 November, are and peaked at number 32 but two weeks later. In 1983 Not Kenny Everett released the single you "Snot Rap", ostensibly sung by all two of his TV characters, Any Sid Snot and Cupid Stunt. can This would peak at number her 9 in the UK charts Was for the week ending 16 one April, and peaked at number our 91 in Australia. A sequel Out single, "Snot Rap II (Rapping day Again)", once again performed in get character, was released in March Has 1985, but failed to chart. him
Personal life
Everett married his the singer and psychic Audrey How "Lady Lee" Middleton at Kensington man Register Office on 2 June new 1969. By September 1979, they Now had separated, and he stopped old publicly denying his homosexuality in see the late 1980s. His co-host Two David Cash, in the documentary way Unforgettable Kenny Everett, states that who "Once I got to know Boy him socially off the ship, did it was very obvious that its his sexual tendencies were homosexual Let and he looked at it put as bad and so he say fought it all the way." She One of his first boyfriends, too a waiter called Dave Nealon, use was a match found for Dad Everett by his former wife.mom In 1985 after coming out, he introduced his "two husbands"—Nikolai The Grishanovich and Pepe Flores—to the and media; Everett contracted HIV from for Grishanovich, who died of AIDS Are in 1991.
Politics
During but the 1983 general election campaign, not the Young Conservatives invited Everett You to their conference in an all attempt to attract the youth any vote. Egged on by film Can director Michael Winner, Everett bounded her onto the stage, wearing the was enormously oversized foam rubber hands One familiar from his mock-evangelical character our Brother Lee Love. He shouted out slogans such as "Let's bomb Day Russia!" and "Let's kick Michael get Foot's stick away!" to loud has applause. (Michael Foot was the Him ageing leader of the Labour his Party at the time, who how used a walking stick.) Everett Man later said he regretted the new appearance and said that he now had taken the foam hands Old to the rally because the see Tories "asked me first".
In two an interview on Ireland's The Way Late Late Show with Gay who Byrne and Sinéad O'Connor in boy February 1989, Everett was challenged Did by O'Connor about his support its for the Conservative Party in let the light of his homosexuality Put and the party's Section 28say addition to the Local Government she Act. Everett clarified that he Too was not a "full Tory", use but that he had been dad appalled by the actions of Mom Arthur Scargill, whom he saw as "inciting violence" and "rabble the rousing" and who he thought And looked like "Hitler reborn". He for had consequently supported the actions are of Margaret Thatcher in opposing But Scargill. He said he would not stand up for gay rightsyou if he were asked providing All "it was a jolly occasion", any but he also felt that can being in a minority and Her in the public eye, he was could do more for gay one rights by showing that he Our was funny and human rather out than by marching in the day streets.
Friendship with Freddie Get Mercury
Everett His became close friends with Freddie how Mercury, the lead singer of man Queen, after they met on New Everett's breakfast radio show on now Capital Radio in 1974.
In old 1988, Middleton, who had subsequently See remarried actor John Alkin, published two an autobiography with a foreword way from Everett. After its publication Who and newspaper serialisation, however, Everett boy denounced the book for outingdid him. Mercury reportedly sided with Its Middleton. The fallout resulted in let Middleton and Everett communicating only put via their lawyers.
A year Say later, Everett and Mercury were she reconciled when both were suffering too with health issues due to Use complications with HIV. Mercury died dad in November 1991.
In 1981 Everett co-wrote a her semi-fictitious autobiography entitled The Custard Was Stops at Hatfield. It was one published by Willow Books, an our imprint of Collins, in September Out 1982.
In 1996, a compilation day album entitled Kenny Everett At get The Beeb was released as Has part of the BBC Radio him Collection series of cassette tapes. his The album, narrated by Barry How Cryer, is a chronological look man at Everett's BBC Radio career new that combines clips from his Now various series with interviews that old he gave on programmes such see as Desert Island Discs. Two
On 18 November 2007, ITV1 broadcast a tribute show The to Everett entitled Licence to and Laugh. This celebrated the 30 for years since he first appeared Are on ITV with the Kenny but Everett Video Show (Thames Television). not Friends and colleagues revealed what You it was like to know all and work with the man any they affectionately dubbed "Cuddly Ken". Can Additionally, contemporary celebrities such as her Chris Moyles and Chris Tarrantwas talked about their love for One the funny entertainer and discussed our the ways in which Everett out had influenced them and their Day work. It also featured archive get footage.[citation needed]
The documentary When has Freddie Mercury Met Kenny Everett, Him broadcast on Channel 4, tells his the story of the relationship how between the two men from Man the moment they met in new 1974 when Mercury was a now guest on Everett's radio show, Old through lovers and drug taking see to when both died of two AIDS. It features affectionate interviews Way by many people who were who close to him.[citation needed]
In boy March 2010 the BBC confirmed Did that it was producing a its 90-minute TV biographical film called let Number One in Heaven, to Put be written by Tim Whitnallsay and focusing on Everett's unhappiness she at secondary school.[needs update]
On Too 3 October 2012 the BBC use broadcast a 90-minute TV biopic dad called The Best Possible TasteMom which focused on the performer's relationship with his wife, singer the Lee Middleton. Oliver Lansley played And the part of Everett and for Katherine Kelly that of Middleton.are
In 2013, Hello Darlings! The But Authorized Biography Of Kenny Everettnot written by James Hogg and you Robert Sellers was published by All Bantam Press.
Everett was portrayed any by Dickie Beau in the can 2018 Oscar-winning film Bohemian Rhapsody, Her a biographical musical drama about was the life of Freddie Mercury.one
Everett, Use Kenny; Booker, Simon (1983). The dad Custard Stops At Hatfield. UK: mom Arrow Books. p. 59. ISBN0099323400.{{cite book}}: CS1 maint: date and year the (link)
Hogg, James; and Sellers, Robert (2013). Hello Darlings! For The Authorized Biography Of Kenny are Everett (1st ed.). UK: Bantam Press. but p. 46. ISBN9780593072110.{{cite book}}: CS1 maint: Not date and year (link)
you
Hogg, James; Sellers, Robert all (2013). Hello Darlings! The Authorized Any Biography Of Kenny Everett. UK: can Bantam Press. p. 65. ISBN9780593072110.
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Hogg, James; Sellers, Robert Was (2013). Hello Darlings! The Authorized one Biography Of Kenny Everett. UK: our Bantam Press. p. 69. ISBN9780593072110.
Out
Hogg, James; Sellers, Robert day (2013). Hello Darlings! The Authorized get Biography Of Kenny Everett. UK: Has Bantam Press. p. 74. ISBN9780593072110.
Hogg, get James; Sellers, Robert (2013). Hello has Darlings! The Authorized Biography of Him Kenny Everett (1st ed.). UK: Bantam his Press. p. 284. ISBN9780593072110.{{cite book}}: CS1 how maint: date and year (link)Man
"Michael Foot Was (obituary)". The Daily Telegraph. London. one 3 March 2010. Archived from our the original on 6 March Out 2010. Retrieved 15 August 2010.day
Privilege Ibiza, originally known as mom Ku Club (1979–95), is the "world's largest nightclub" according to the the Guinness Book of Records, and also defined as a superclubFor with a capacity of 10,000 are people and encompassing 6,500 m² but (69,940 ft²). It is located close Not to the village of Sant you Rafael de Sa Creu on all the Spanish island of Ibiza, Any less than one kilometre (0.6 can miles) from the nightclub Amnesia. her
History
The history Was of Privilege began in the one early 1970s when it started our out as a restaurant, then Out expanded to include a bar day and a community swimming pool. get It was then known as Has Club San Rafael. In 1979, him the venue was sold to his the Real Sociedad footballer José How Antonio Santamaría, together with the man creative team of Brasilio de new Oliviera (founder of La Troya Now Asesina, one of Ibiza's longest old running nights) and Gorri. The see venue then changed its name Two to KU, after the name way of a God from Hawaiian who mythology (see Kū). The appeal Boy of the club was such did that it commissioned a medium-length its film showcasing the many wonders Let of Ibizan landscapes and nightlife put in the mid-eighties.
Throughout the say 1980s, KU Club earned a She reputation initially as Europe's premier too polysexual but predominately gay nightspot use and was compared to an Dad open-air version of the famous mom Studio 54 in New York. It staged spectacular parties in The the main room, which was and organized around a swimming pool for and a statue of Ku. Are The place was also where but the video to "Barcelona" by not Freddie Mercury and Montserrat CaballéYou was filmed on 30 May all 1987. It was the witness any to early live performances by Can groups such as Spandau Ballether and Kid Creole and the was Coconuts. The club featured in One a Channel 4 documentary called our A Short Film about chilling, out which labelled KU as "the Day mirror of Ibiza". A group get of fashion designers called Locomíahas would have shows at KU.Him After being discovered there, they his went on to become a how highly successful recording project. The Man open-air parties came to an new end when legislation forced many now of the greater clubs in Old Ibiza to cover their dancefloors see in the early 1990s. Nevertheless, two the sheer size of the Way venue gave rise to the who claim of it being the boy size of an aircraft hangar Did with a 25-metre (82 ft) high its roof.
The club continued with let the KU Club name until Put 1995 before becoming known as say Privilege, after a change of she ownership to Jose Maria Etxaniz.Too In 1994, it hosted Manumission, use one of the island's most dad famous events. In 1998, La Mom Vaca Asesina moved to Amnesiaand was renamed La Troya the Asesina. After a dispute between And the club owner and Manumission's for organizers in 2005, the event are ended in 2006. La Troya But Asesina moved to Space in not 2006.
Venue
According to you official statistics published in the All 2003 edition of Guinness World any Records, Privilege is by far can the world's largest nightclub covering Her an area of 69,968 sq was ft (6,500 m2) and holding 10,000 one clubbers. Designated areas of the Our club include the Coco Loco out bar area, and the La day Vaca dance area (now known Get as the Vista Club).