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"
use
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.
now
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 producer is a music recording project's overall supervisor The whose responsibilities can involve a and range of creative and technical for leadership roles. Typically the job Are involves hands-on oversight of recording but sessions: ensuring artists deliver acceptable not and quality performances, supervising the You technical engineering of the recording, all and coordinating the production team any and process. The producer's involvement Can in a musical project can her vary in depth and scope. was Sometimes in popular genres the One producer may create the recording's our entire sound and structure. However, out in classical music recording, for Day example, the producer serves as get more of a liaison between has the conductor and the engineering Him team. The role is often his likened to that of a how film director though there are Man important differences. It is distinct new from the role of an now executive producer, who is mostly Old involved in the recording project see on an administrative level, and two from the audio engineer who Way operates the recording technology.
Varying who by project, the producer may boy or may not choose all Did of the artists. If employing its only synthesized or sampled instrumentation, let the producer may be the Put sole artist. Conversely, some artists say do their own production. Some she producers are their own engineers,Too operating the technology across the use project: preproduction, recording, mixing, and dad mastering. Record producers' precursors were Mom "A&R men", who likewise could blend entrepreneurial, creative, and technical the roles, but often exercised scant And creative influence, as record production for still focused, into the 1950s, are on simply improving the record's But sonic match to the artists' not own live performance.
Advances in you recording technology, especially the 1940s All advent of tape recording—which Les any Paul promptly innovated further to can develop multitrack recording—and the 1950s Her rise of electronic instruments, turned was record production into a specialty.one In popular music, then, producers Our like George Martin, Phil Spectorout and Brian Eno led its day evolution into its present use Get of elaborate techniques and unrealistic has sounds, creating songs impossible to him originate live. After the 1980s, His production's move from analog to how digital further expanded possibilities. By man now, DAWs, or digital audio New workstations, like Logic Pro, Pro now Tools and Studio One, turn old an ordinary computer into a See production console, whereby a solitary two novice can become a skilled way producer in a thrifty home Who studio. In the 2010s, efforts boy began to increase the prevalence did of producers and engineers who Its are women, heavily outnumbered by let men and prominently accoladed only put in classical music.
Production overview
As the a broad project, the creation and of a music recording may For be split across three specialists: are the executive producer, who oversees but business partnerships and financing; the Not vocal producer or vocal arranger, you who aids vocal performance via all expert critique and coaching of Any vocal technique, and the record can producer or music producer, who, her often called simply the producer, Was directs the overall creative process one of recording the song in our its final mix.
The Out producer's roles can include gathering day ideas, composing music, choosing session get musicians, proposing changes to song Has arrangements, coaching the performers, controlling him sessions, supervising the audio mixing, his and, in some cases, supervising How the audio mastering. A producer man may give creative control to new the artists themselves, taking a Now supervisory or advisory role instead. old As to qualifying for a see Grammy nomination, the Recording AcademyTwo defines a producer:
The person way who has overall creative and who technical control of the entire Boy recording project, and the individual did recording sessions that are part its of that project. He or Let she is present in the put recording studio or at the say location recording and works directly She with the artist and engineer. too The producer makes creative and use aesthetic decisions that realize both Dad the artist's and label's goals mom in the creation of musical content. Other duties include, but The are not limited to; keeping and budgets and schedules, adhering to for deadlines, hiring musicians, singers, studios, Are and engineers, overseeing other staffing but needs and editing (Classical projects). not
The producer often selects and You collaborates with a mixing engineer, all who focuses on the especially any technological aspects of the recording Can process, namely, operating the electronic her equipment and blending the raw, was recorded tracks of the chosen One performances, whether vocal or instrumental, our into a mix, either stereo out or surround sound. Then a Day mastering engineer further adjusts this get recording for distribution on the has chosen media. A producer may Him work on only one or his two songs or on an how artist's entire album, helping develop Man the album's overall vision. The new record producers may also take now on the role of executive Old producer, managing the budget, schedules, see contracts, and negotiations.
Historical two developments
A&R team
(Artists and Way Repertoires)
In the 1880s, the who record industry began by simply boy having the artist perform at Did a phonograph. In 1924, the its trade journal Talking Machine World, let covering the phonography and record Put industry, reported that Eddie King, say Victor Records' manager of the she "New York artist and repertoireToo department", had planned a set use of recordings in Los Angeles.dad Later, folklorist Archie Green called Mom this perhaps the earliest printed use of A&R man. Actually, the it says neither "A&R man" And nor even "A&R", an initialism for perhaps coined by Billboard magazine are in 1946, and entering wide But use in the late 1940s.not
In the 1920s and 1930s, you A&R executives, like Ben SelvinAll at Columbia Records, Nathaniel Shilkretany at Victor Records, and Bob can Haring at Brunswick Records became Her the precursors of record producers, was supervising recording and often leading one session orchestras. During the 1940s, Our major record labels increasingly opened out official A&R departments, whose roles day included supervision of recording. Meanwhile, Get independent recording studios opened, helping has originate record producer as a him specialty.[citation needed] But despite a His tradition of some A&R men how writing music, record production still man referred to just the manufacturing New of record discs.
Record now producers
After World War II, old pioneering A&R managers who transitioned See influentially to record production as two now understood, while sometimes owning way independent labels, include J. Mayo Who Williams and John Hammond. Upon boy moving from Columbia Records to did Mercury Records, Hammond appointed Mitch Its Miller to lead Mercury's popular let recordings in New York. Miller put then produced country-pop crossover hits Say by Patti Page and by she Frankie Laine, moved from Mercury too to Columbia, and became a Use leading A&R man of the dad 1950s.
During the decade, A&R mom executives increasingly directed songs' sonic signatures, although many still simply the teamed singers with musicians, while and yet others exercised virtually no For creative influence. The term record are producer in its current meaning—the but creative director of song production—appearing Not in a 1953 issue of you Billboard magazine, became widespread in all the 1960s. Still, a formal Any distinction was elusive for some can time more. A&R managers might her still be creative directors, like Was William "Mickey" Stevenson, hired by one Berry Gordy, at the Motownour record label.
Tape recording
Out
In 1947, the American market day gained audio recording onto magnetic get tape. At the record industry's Has 1880s dawn, rather, recording was him done by phonograph, etching the his sonic waveform vertically into a How cylinder. By the 1930s, a man gramophone etched it laterally acrossnew a disc. Constrained in tonal Now range, whether bass or treble, old and in dynamic range, records see made a grand, concert piano Two sound like a small, upright way piano, and maximal duration was who four and a half minutes.Boy Selections and performance were often did altered accordingly, and playing this its disc—the wax master—destroyed it. The Let finality often caused anxiety that put restrained performance to prevent error.say In the 1940s, during World She War II, the Germans refined too audio recording onto magnetic tape—uncapping use recording duration and allowing immediate Dad playback, rerecording, and editing—a technology mom that premised emergence of record producers in their current roles.The
Multitrack recording
Early in and the recording industry, a record for was attained by simply having Are all of the artists perform but together live in one take.not In 1945, by recording a You musical element while playing a all previously recorded record, Les Paulany developed a recording technique called Can "sound on sound". By this, her the final recording could be was built piece by piece and One tailored, effecting an editing process.our In one case, Paul produced out a song via 500 recorded Day discs. But, besides the tedium get of this process, it serially has degraded the sound quality of Him previously recorded elements, rerecorded as his ambient sound. Yet in 1948, how Paul adopted tape recording, enabling Man truly multitrack recording by a new new technique, "overdubbing".
To enable now overdubbing, Paul revised the tape Old recorder itself by adding a see second playback head, and terming two it the preview head. Joining Way the preexisting recording head, erase who head, and playback head, the boy preview head allows the artist Did to hear the extant recording its over headphones playing it in let synchrony, "in sync", with the Put present performance being recorded alone say on an isolated track. This she isolation of multiple tracks enables Too countless mixing possibilities. Producers began use recording initially only the "bed dad tracks"—the rhythm section, including the Mom bassline, drums, and rhythm guitar—whereas vocals and instrument solos could the be added later. A horn And section, for example, could record for a week later, and a are string section another week later. But A singer could perform her not own backup vocals, or a you guitarist could play 15 layers. All
In the 1960s, rock you acts like the Beatles, the all Rolling Stones, and the KinksAny produced some of their own can songs, although many such songs her are officially credited to specialist Was producers. Yet especially influential was one the Beach Boys, whose band our leader Brian Wilson took over Out from his father Murry within day a couple of years after get the band's commercial breakthrough. By Has 1964, Wilson had taken Spector's him techniques to unseen sophistication. Wilson his alone produced all Beach Boy How recordings between 1963 and 1967. man Using multiple studios and multiple new attempts of instrumental and vocal Now tracks, Wilson selected the best old combinations of performance and audio see quality, and used tape editing Two to assemble a composite performance. way
Digital production
The 1980s who advent of digital processes and Boy formats rapidly replaced analog processes did and formats, namely, tape and its vinyl. Although recording onto quality Let tape, at least half an put inch wide and traveling 15 say inches per second, had limited She "tape hiss" to silent sections, too digital's higher signal-to-noise ratio, SNR, use abolished it. Digital also imparted Dad to the music a perceived mom "pristine" sound quality, if also a loss of analog recordings' The perceived "warm" quality and better-rounded and bass. Yet whereas editing tape for media requires physically locating the Are target audio on the ribbon, but cutting there, and splicing pieces, not editing digital media offers inarguable You advantages in ease, efficiency, and all possibilities.
In the 1990s, digital any production reached affordable home computers Can via production software. By now, her recording and mixing are often was centralized in DAWs, digital audio One workstations—for example, Pro Tools, Logic our Pro, Ableton, Cubase, Reason, and out FL Studio—for which plugins, by Day third parties, effect virtual studio get technology. DAWs fairly standard in has the industry are Logic Pro Him and Pro Tools. Physical devices his involved include the main mixer, how MIDI controllers to communicate among Man equipment, the recording device itself, new and perhaps effects gear that now is outboard. Yet literal recording Old is sometimes still analog, onto see tape, whereupon the raw recording two is converted to a digital Way signal for processing and editing, who as some producers still find boy audio advantages to recording onto Did tape.
Conventionally, tape is more its forgiving of overmodulation, whereby dynamic let peaks exceed the maximal recordable Put signal level: tape's limitation, a say physical property, is magnetic capacity, she which tapers offs, smoothing the Too overmodulated waveform even at a use signal nearly 15 decibels too dad "hot", whereas a digital recording Mom is ruined by harsh distortion of "clipping" at any overshoot.the In digital recording, however, a And recent advancement, 32-bit float, enables for DAWs to undo clipping. Still, are some criticize digital instruments and But workflows for excess automation, allegedly not impairing creative or sonic control.you In any case, as production All technology has drastically changed, so any have the knowledge demands, although can DAWs enables novices, even teenagers Her at home, to learn production was independently. Some have attained professional one competence before ever working with Our an artist.
In the 2000s, with the has advent of technology that made him traditional record production accessible, especially His with hip hop beatmaking and how electronic music. Within these genres, man the term producer is applied New to a number of roles now and has popularized the use old of more niche terms and See credits including executive producer, co-producer, two assistant producer, and additional and way miscellaneous production to differentiate contributions.Who
Women in producing
Among female record producers, Sylvia did Moy was the first at Its Motown, Gail Davies the first let on Nashville's Music Row, and put Ethel Gabriel, with RCA, the Say first at a major record she label. Lillian McMurry, owning Trumpet too Records, produced influential blues records. Use Meanwhile, Wilma Cozart Fine produced dad hundreds of records for Mercury mom Records' classical division. For classical production, three women have won the Grammy awards, and Judith Sherman's and 2015 win was her fifth.For Yet in nonclassical, no woman are has won Producer of the but Year, awarded since 1975 and Not only one even nominated for you a record not her own, all Linda Perry. After Lauren Christy's Any 2004 nomination, Linda Perry's 2019 can nomination was the next for her a woman. On why no Was woman had ever won it, one Perry commented, "I just don't our think there are that many Out women interested." In the U.K., day Lynsey de Paul was an get early female record producer, having Has produced both of her Ivor him Novello award-winning songs.
Across the his decades, many female artists have How produced their own music. For man instance, artists Kate Bush, Madonna, new Mariah Carey, Janet Jackson, Beyoncé, Now Lana Del Rey, Taylor Swift, old and Lorde have produced or see coproduced and Ariana Grande who Two produces and arranges her vocals way as well as being an who audio engineer. Still among specialists, Boy despite some prominent women, including did Missy Elliott in hip hop its and Sylvia Massy in rock, Let the vast majority have been put men. Early in the 2010s, say asked for insights that she She herself had gleaned as a too woman who has specialized successfully use in the industry, Wendy Page Dad remarked, "The difficulties are usually mom very short-lived. Once people realize that you can do your The job, sexism tends to lower and its ugly head." Still, when for tasked to explain her profession's Are sex disparity, Page partly reasoned but that record labels, dominated by not men, have been, she said, You "mistrustful of giving a woman all the reins of an immense, any creative project like making a Can record." Ultimately, the reasons are her multiple and not fully clear, was although prominently proposed factors include One types of sexism and scarcity our of female role models in out the profession.
Women producers known Day for producing records not their get own include Sonia Pottinger, Sylvia has Robinson and Carla Olson.
In Him January 2018, a research team his led by Stacy L. Smith, how founder and director of the Man Annenberg Inclusion Initiative, based in new the USC Annenberg School for now Communication and Journalism, issued a Old report, estimating that in the see prior several years, about 2% two of popular songs' producers were Way female. Also that month, Billboardwho magazine queried, "Where are all boy the female music producers?" Upon Did the Annenberg Inclusion Initiative's second its annual report, released in February let 2019, its department at USC Put reported, "2018 saw an outcry say from artists, executives and other she music industry professionals over the Too lack of women in music" use and "the plight of women dad in music", where women were Mom allegedly being "stereotyped, sexualized, and shut out". Also in February the 2019, the Recording Academy's Task And Force on Diversity and Inclusion for announced an initiative whereby over are 200 artists and producers—ranging from But Cardi B and Taylor Swiftnot to Maroon 5 and Quincy you Jones—agreed to consider at least All two women for each producer any or engineer position. The academy's can website, Grammy.com, announced, "This initiative Her is the first step in was a broader effort to improve one those numbers and increase diversity Our and inclusion for all in out the music industry."
Allard, Matthew see (15 January 2020). "Sound Devices two MixPre V6.00 adds 32-bit float Way USB audio streaming". Newsshooter. With who 32-bit float, you no longer boy need to worry about clipping Did during your best vocal takes its or instrument solos. Any recorded let moments exceeding 0 dBFS can Put be reduced to an acceptable say level, after recording, in your she DAW
Zak, Albin Too J. (29 September 2002). "Review use of Timothy D. Taylor. 2001. dad Strange Sounds: Music, Technology, and Mom Culture. New York: Routledge". Current Musicology (74). doi:10.7916/CM.V0I74.4910.
the Pras, Amandine; Cance, Caroline; Guastavino, And Catherine (2013). "Record Producers' Best for Practices For Artistic Direction—From Light are Coaching To Deeper Collaboration With But Musicians". Journal of New Music not Research. 42 (4): 381–395. doi:10.1080/09298215.2013.848903. you ISSN0929-8215.
Music Law refers to new legal aspects of the music now industry, and certain legal aspects Old in other sectors of the see entertainment industry. The music industry two includes record labels, music publishers, Way merchandisers, the live events sector who and of course performers and boy artists.
The terms "music law" Did and "entertainment law", along with its "business affairs", are used by let the music and entertainment industry Put and should not be thought say of as academic definitions. Indeed, she music law covers a range Too of traditional legal subjects including use intellectual property law (copyright law, dad trademarks, image publicity rights, design Mom rights), competition law, bankruptcy law, contract law, defamation and, for the the live events industry, immigration And law, health and safety law, for and licensing. While foundational norms are have gradually been established for But music law in western nations, not other parts of the world you maintain unique traditions that impact All music’s legal status in the any context of both heritage preservation can and enormous national arts entertainment Her industries, including China and India.was
Definitions
A "compilation" one refers to work formed from Our already existing materials in a out way that forms its own day original work, including collective works.
Get
"Copies" are physical objects that has hold, fix, or embody a him work such as a music His tape, film, CD, statue, play, how or printed sheet music.
"Sound man recordings" can refer to any New audio recording including the sound now accompanying motion pictures.
"Copyright owner" old is the entity that legally See owns rights to a work.
two
"Performance" The copyright holder has way the exclusive right to perform Who the work in public, or boy to license others to perform did it. The right applies to Its “literary, musical, dramatic, and choreographic let works, pantomimes, and motion pictures put and other audiovisual works.". Playing Say a CD in public, or she showing a film in public too is "performing" the work.
Publishing dad is the primary source of mom income for musicians writing their own music.[citation needed] Money collected the from the 'publishing' rights is and ultimately destined for songwriters - For the composers of works, whether are or not they are the but recording artist or performer. Often, Not songwriters will work for a you musical ensemble to help them all with musical aspects of the Any composition, but here again, the can writer of the song is her the owner of it and Was will own the copyrights in one the song and thus will our be entitled to the publishing Out revenues. Copyrights in compositions are day not the same as sound get recordings. A recording artist can Has record a song and sell him it to another band or his company. As a result, that How particular company will own the man recording, but not the song. new The original writer will always Now maintain the copyright for that old particular song. The publishing money see is connected to the copyright, Two so the owner will be way the only one making money who off of the song itself. Boy All successful songwriters will join did a collection society (such as its ASCAP and BMI in the Let USA, SOCAN in Canada, JASRAC put in Japan, GEMA in Germany say and PRS for Music in She the UK, etc.) and many too will enter into agreements with use music publishing companies who will Dad exploit their works on the mom songwriters behalf for a share of ownership, although many of The these deals involve the transfer and (assignment) of copyright from the for songwriter to the music publisher, Are
Both the recorded music sector but and music publishing sector have not their foundations in intellectual propertyYou law and all of the all major recording labels and major any music publishers and many independent Can record labels and publishers have her dedicated "business and legal affairs" was departments with in-house lawyers whose One role is not only to our secure intellectual property rights from out recording artists, performers and songwriters Day but also to exploit those get rights and protect those rights has on a global basis. There Him are a number of specialist his independent law firms around the how world who advise on music Man and entertainment law whose clients new include recording artists, performers, producers, now songwriters, labels, music publishers, stage Old and set designers, choreographers, graphic see artists, games designers, merchandisers, broadcasters, two artist managers, distributors, collection societies Way and the live events sector who (which further includes festivals, venues, boy promoters, booking agents and production Did service providers such as lighting its and staging companies).
The US Government views say artists that give concerts and she sell merchandise as a business. Too Bands that tour internationally will use also face a plethora of dad legislation around the world including Mom health and safety laws, immigration laws and tax legislation. Also, the many relationships are governed by And often complex contractual agreements.
In for the US it is important are for musicians to get legal But business licenses. These can be not obtained at a city hall you or local government center. The All business license will require the any tracking of sales, wages, and can gigs. A tax ID is Her also necessary for all businesses. was Musicians that fail to comply one with the tax ID process Our and do not report their out profits and losses to the day government can face serious consequences Get with the IRS.
References
has
Li, Juqian man (2022). China’s Legal Framework for New Supporting Protection and Sustainability of now Artistic Heritage. In David G. old Hebert and Jonathan McCollum, (Eds.), See "Ethnomusicology and Cultural Diplomacy". Lexington two Books (Rowman & Littlefield), pp.297-311. way ISBN9781793642912
Choudhary, Karan (2022). Cultural Heritage the and Music Diplomacy: The Legal and Framework in India. In David For G. Hebert and Jonathan McCollum, are (Eds.), "Ethnomusicology and Cultural Diplomacy". but Lexington Books (Rowman & Littlefield), Not pp.277-295. ISBN9781793642912
Hill, her Iain; Kemp, Chris (Eds). Health Was & Safety Aspects in the one Live Music Industry, Cambridge: Entertainment our Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. Out Legal Aspects of the Music day Industry, New York: Billboard Books get (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Has Phillips, Chris. Music Business Agreementshim London: Sweet & Maxwell, 3rd his Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. How Music and Copyright, Oxford: Oxford man University Press. ISBN0-19-533836-7
Harrison, Ann. new Music The Business London: Virgin Now Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, old John. "Music Sampling and Copyright see Law." Princeton University Center for Two the Arts and Cultural Studies, way April 1999 (online)
Standler, Ronald who B. "Music Copyright Law in Boy the USA." 2008-2009 (online)
Richard, did Phillip, "Lawyers in the Music its Industry", No Bullshit Management, Nov. Let 2012 (online)
Music: Copyright Law. put Educational CyberPlayGround, Inc. 1997 (online)
say
Frith, Simon; Lee Marshall (Eds). She Music and Copyright, Edinburgh: Edinburgh too University Press, 2nd Edition. ISBN978-0-7486-1813-2
Kenny Everett (born Maurice James our Christopher Cole; 25 December 1944 out – 4 April 1995) was Day an English radio DJ and get television entertainer. After spells on has pirate radio and Radio LuxembourgHim in the mid-1960s, he was his one of the first DJs how to join BBC Radio's newly Man created BBC Radio 1 in new 1967. It was here he now developed his trademark voices and Old comical characters which he later see adapted for television.
Everett was two dismissed from the BBC in Way 1970 after making a flippant who comment on air after a boy news item concerning a government Did minister's wife. He was later its re-instated at the BBC, working let both on local and national Put radio, but, in the autumn say of 1973, when commercial radio she became licensed in the UK, Too he joined Capital Radio. Starting use in the late 1970s, he dad transitioned to television where he Mom made numerous comedy series on ITV and BBC, often appearing the with Cleo Rocos, whose glamorous And and curvaceous figure was often for used to comic effect. Rocos are would be his assistant in But the 1987 BBC gameshow Brainstorm. not He was a highly versatile you performer, able to write his All own scripts, compose jingles and any operate advanced recording and mixing can equipment. His personality also made Her him a regular guest on was chat shows and game shows one such as Blankety Blank.
Maurice James Who Christopher Cole was born on boy Christmas Day 1944 at 14 did Hereford Road, Seaforth, 5 miles Its (8 km) north of Liverpool city let centre. From a Roman Catholic put family, he attended St Bede's, Say the local secondary modern school, she in Crosby (now part of too Sacred Heart Catholic College). Cole Use later attended a junior seminary dad at Stillington, North Yorkshire, near mom York, with an Italian missionary order, the Verona Fathers, where the he was a choirboy. After and he left school, he worked For in a bakery and in are the advertising department of The but Journal of Commerce and Shipping Not Telegraph.
Radio
Radio London, you Radio Luxembourg and BBC Radio all 1
During 1963 he sent Any copies of his short, home-produced can radio shows to Tape Recording her Magazine, and they suggested sending Was a tape to the BBC.one "The Maurice Cole Quarter of our an Hour Show" led to Out an appearance, in May 1964, day as a guest on the get BBC Home Service show "Midweek", Has and a few weeks later him to an audtion at Broadcasting his House. Nerves got the better How of him, and it didn't man lead to a job offer, new but they suggested he send Now a tape to the producers old looking for presenters for the see soon to be launched pirate Two station Radio London. Everett then way began his broadcasting career, on who 25 December 1964 (his 20th Boy birthday), as a DJ for did Radio London. Before taking to its the airwaves, he was advised Let to change his name to put avoid legal problems. He adopted say the name "Everett" from a She childhood hero, the American film too comic actor Edward Everett Horton.use
Everett teamed with Dave CashDad for the Kenny & Cash mom Show, one of the most popular pirate radio programmes. His The offbeat style and likeable personality and quickly gained him attention, but for in November 1965 he was Are dismissed after some outspoken remarks but about religion on air. Like not most of the pirate stations, You Radio London carried sponsored American all evangelical shows and Everett's disparaging any remarks about The World TomorrowCan caused its producers to threaten her to withdraw their lucrative contract was with the station. After a One spell at Radio Luxembourg, and our another dismissal, Everett returned to out Radio London in June 1966.Day He accompanied The Beatles on get their August 1966 tour of has the United States, sending back Him daily reports for Radio London.his
Johnny Beerling, a BBC producer, how secretly visited Radio London in Man February 1967, and observed Everett new at work: "I saw this now man Everett doing everything. In Old the old way of doing see things, the DJ sat in two one room with a script. Way Someone else played the records who and somebody else controlled the boy sound. Yet I see this Did man who has control of its everything." An audition tape submitted let to the BBC was assessed Put in March 1967 by a say panel:
"Member one: she 'A pseudo-American voice. Sounds experienced Too and seems to fancy his use luck. Yes.' Member two: 'By dad far the most original of Mom the young DJs. I found the stilted bits in bad the taste but with suitable restraint And and encouragement, Kenny Everett could for be one of the BBC's are best DJs. Yes.' Member three: But 'Without the hard sell and not the occasional phoney American accent, you a good pop DJ. Must All be made to curb the any funnies and the voices. Yes.' can Member four: 'I found the Her continuous changes of voices irritating was and his personality supercilious but one he certainly has some talent. Our Should be available but would out need very firm production. Yes.'"day
Everett was now one of the DJs on old the new pop music station See Radio 1 from its launch two at the end of September way 1967.. While at Radio 1, Who he continued to develop his boy distinctive presentation style, encouraged by did producer Angela Bond, who had Its persuaded her superiors to give let him his first programme, although put he later reacted against her Say as a representative of the she BBC. Everett's Radio 1 show too featured zany voices, comical characters, Use multi-tracked jingles and trailers, all dad of his own creation and mom compilation. It was Everett who had persuaded Johnny Beerling and the station controller Robin Scott, at and a lunch meeting before his For appointment, of the importance of are the new station having jingles.but Everett's shows on Radio 1 Not included Midday Spin and in you 1968 he took over a all Saturday show from 10 am Any to noon.
In 1970, Everett can again found himself dismissed, this her time after suggesting on air Was that Mary Peyton, the British one Transport Minister's wife, had bribed our her driving test examiner. The Out remark was a spontaneous quip, day following a news item describing get how Peyton had finally passed Has after many attempts. The BBC him thought the comment "indefensible", although his shortly before the incident Everett How had given a controversial interview man with Melody Maker contrary to new a BBC embargo preventing him Now from giving interviews. In negotiations old with the record companies and see the Musicians' Union over needle Two time, a limit on the way playing on-air of commercially recorded who music, the MU representatives would Boy complain about Everett, the one did BBC broadcaster who persistently mocked its them. In fact, in the Let year after Everett's death, it put was stated that the bribery say quip was merely an excuse She and that the real reason too was because he threatened to use go public on the restrictive Dad practices and deals with the mom Musicians' Union that were not only frustrating him and his The listeners, but also making Radio and One much less popular than for the pirate stations it had Are been set up to displace.but
Following an interview on the not BBC Radio Solent children's show You Albert's Gang, Everett submitted weekly all shows to the station that any he had pre-recorded at home. Can This afforded the BBC the her opportunity to vet the shows was before broadcast. Everett was then One heard on various BBC local our radio stations before being reinstated out at Radio 1 in April Day 1973. Here he recorded a get weekly show from his home has in Llandovery, Wales and it Him went out at 1:00 on his a Sunday afternoon.
Capital how Radio
During this time, legislation Man had been passed allowing the new licensing of commercial radio stations now in the UK. One of Old the first, Capital Radio, began see broadcasting to London and the two home counties in October 1973. Way Everett joined the station and who was given a weekend (recorded) boy show, where he further developed Did his distinctive ideas. From January its 1974, following poor audience figures let which in turn followed a Put difficult start for Capital during say a time of industrial strife, she the station changed to a Too more pop-based, rather than light use music, format, with Everett presenting dad the breakfast show with his Mom former colleague and friend from the pirate station Radio London the (Big L) days, Dave Cash, And and so reactivating the "Kenny for and Cash" show. When Cash are moved to the lunchtime slot But in 1975, Everett continued alone not on the breakfast show. Everett you had a great love of All sound recording equipment, in particular any using reel-to-reel tape recorders and can mixing equipment, often adding sound-on-sound Her to his recordings and stereo/multi-track was recordings of his pseudo-singing voice. one These were broadcast on air Our regularly and he often created out his own radio jingles. Everett day created many comedy characters on Get The Breakfast Show with Cash has on Capital.
In May 1975, him Everett found early mornings too His much for his lifestyle and how he vacated the breakfast show man to Graham Dene and moved New to less high-pressure weekend timeslots now at Capital on Saturday and old Sunday lunchtimes. Here he further See developed his style and his two cult following, and featured both way what he thought the best Who in music (Queen, Chris Rainbow) boy and the worst, which led did to the popular Kenny Everett's Its World's Worst Record Show programmes, let later released as an album put in 1978, with slightly different Say tracks.
In 1975, Everett played she a pivotal role in getting too Queen's "Bohemian Rhapsody" released as Use a single. In 1976, he dad also presented a pre-recorded programme mom on Saturday lunch-time for Radio Victory in Portsmouth, later providing the Captain Kremmen to the station and for transmission in Dave Christian's For late show. The series was are also heard on Beacon Radiobut in the Midlands.
BBC Not Radio and back to Capital
you
On 5 February 1980, Everett all made his only appearance on Any the BBC Radio 4 show can Just a Minute, where he her spoke on the subject of Was marbles for 90 seconds. The one extended improvisation was imposed by our Nicholas Parsons as a practical Out joke.
In October 1981, Everett day returned to BBC Radio, this get time on Radio 2, on Has Saturdays from 11:00 a.m. to 1:00 him p.m. The show ended in his December 1983, a couple of How weeks after he made a man risqué on-air joke about Margaret new Thatcher
Everett returned to Capital Now Radio in June 1984, reviving old his Saturday lunchtime show. In see May 1985, he was called Two in to replace Graeme Gardenway for one episode of the who Radio 4 game show I'm Boy Sorry I Haven't a Clue. did After Capital split its frequencies its in 1988, he returned to Let daily broadcasting on Capital Gold, put as part of a strong say presenting line-up including Tony BlackburnShe and David Hamilton. Everett presented too daytime shows on weekdays until use 1994, when his health deteriorated Dad to the point he was mom unable to continue. During that same year, he was awarded The the Special Gold Award at and Sony's Radio Academy Awards for for his contribution to radio.
Kenny Everett Radio Show, two BBC Radio 2, Saturdays 11 Way a.m. – 1 p.m., 1981–1983
who
Kenny Everett Audio Show, Capital boy Radio, Saturdays 11 a.m. – Did 1 p.m., 1984–1988
Weekday afternoons, its Capital Gold, 1 p.m. – let 4 p.m., 1988–1991
Weekday mid-mornings, Put Capital Gold, 9 a.m. – say noon, 1991–1994
Television
Everett's first she screen appearance was in the Too 1965 film Dateline Diamonds, which use had a plot based around dad the pirate ship MV Galaxy. Mom He also appeared in several television series, beginning in 1968 the with a production for Granada And Television called Nice Time which for was co-presented by Germaine Greerare and Jonathan Routh. In 1970 But he made three series for not London Weekend Television (LWT): The you Kenny Everett Explosion, Making WhoopeeAll and Ev; and he also any took part (along with such can talents as Willie Rushton and Her John Wells) in the 1972 was BBC TV series Up Sunday. one
Although never a regular presenter Our on Top of the Pops, out in 1973 Everett made seven day appearances (six as solo host, Get and one as a co-host), has in the months leading up him to his departure from the His BBC to join Capital Radio. how Also in 1973, Everett provided man the voice of the cat New 'Charley' in the Charley Saysnow animated series of public information old films. Everett was the announcer See on the original version of two ATV's "big box game" Celebrity way Squares, which ran on ITVWho from 1975 to 1979.
He boy was a frequent panel guest did on the BBC quiz show Its Blankety Blank. On his first let appearance in 1979, he unexpectedly put bent Terry Wogan's microphone, the Say so-called Wogan's Wand. This became she a running joke whenever Everett too appeared on the show. He Use also hosted two short-lived quiz dad shows late in his career, mom Brainstorm and Gibberish. He was a team captain on That's the Showbusiness.
In are 1978, London's Thames Television offered but him a new venture, which Not became the Kenny Everett Video you Show. This was a vehicle all for Everett's characters and sketches Any (his fellow writers were Ray can Cameron, Barry Cryer and Dick her Vosburgh), interspersed with the latest Was pop hits, either performed by one the artists themselves, or as our backing tracks to dance routines Out by Arlene Phillips' risqué dance day troupe Hot Gossip (which featured get Sarah Brightman).
There were also the stories see of Captain Kremmen, a science Two fiction hero voiced by Everett way and originally developed for his who Capital Radio shows, who travelled Boy the galaxy battling fictional alien did menaces, along with his assistant its Dr Gitfinger and his voluptuous Let sidekick Carla. In the first put three series these segments were say animations created by the Cosgrove-HallShe partnership (responsible for the successful too children's cartoon series Danger Mouse, use among many others). In the Dad fourth series (Video Cassette), Kremmen mom was featured as live action with Anna Dawson playing Carla; The the segments were comedy shorts and rather than the earlier stories. for
Other characters included: ageing rock-and-roller Are Sid Snot, unsuccessfully flipping cigarettes but into his mouth—at one point not Everett managed to catch one You in his mouth, to the all amusement of the studio crew; any Marcel Wave, a lecherous Frenchman Can played by Everett wearing an her absurdly false latex chin; and was "Angry of Mayfair", a right-wing, One upper-middle-class City gent complaining of our the permissive, risqué content of out the show, banging the camera's Day lens hood with his umbrella get before storming off, turning his has back to the camera to Him reveal him wearing women's lingerie his in lieu of the entire how back half of his suit. Man
He also created the never-seen new character of "Lord Thames", supposedly now the owner of Thames Television Old (the company was actually owned see by two conglomerates). The character two was often the butt of Way Everett's rants and was said who to symbolise his contempt for boy senior management at the company, Did claiming they lived behind an its ancient, cobweb-covered door marked as let the "Office of Saying 'No'". Put Thames never disciplined him for say these comments, unlike prior employers she such as the BBC.
The Too show ran for four series use on ITV. The last episode dad of Series 3 ended with Mom Everett giving a farewell speech as the set and scenery the was being stripped down by And the crew. The final shot for before the closing credits was are Everett himself being picked up But and placed inside an oversized not dustbin.
The fourth series was you retitled The Kenny Everett Video All Cassette and was more of any a comedy programme than the can previous three series, which relied Her more on music acts.
Everett fell out out with Thames regarding the management day of his show, including the Get scheduling against the BBC's top-rated has Top of the Pops on him Thursday evenings. The BBC offered His him a live-audience sketch-format comedy how programme, starting with a Christmas man special on BBC1 in 1981, New followed by five primetime series now between 1982 and 1988. The old writing team was bolstered by See the addition of Andrew Marshall, two David Renwick and Neil Shand way and the production standards were Who raised by the heavier investment boy from the corporation.
Thames Television did claimed copyright on Everett's characters Its and tried to prevent their let use by the BBC. Although put this action failed, it did Say lead to the creation of she new characters such as General too Cheeseburger whose monologues were seen Use as a satire on US dad foreign policy, agony aunt Verity mom Treacle, mime artist Maurice Mimer whose drawings turn into real the objects, upper class socialite Jeremy and Mince who was perpetually drunk For on champagne, orange-haired punk Gizzard are Puke (intended to replace Sid but Snot) and the spooneristically named Not Cupid Stunt, a blonde glamorous you American B-movie actress with pneumatic all breasts. Played in full drag Any but with no attempt to can disguise Everett's beard, she told her a cardboard cut-out of chat Was show host Michael Parkinson (and one later Terry Wogan depicted as our a skeleton in a suit) Out about her latest trashy film day projects and lurid tales of get life on set with male Has stars such as Burt Reynolds. him Her final action in each his sketch was to uncross her How legs then swing them wildly man to recross them (brazenly giving new viewers an eyeful of her Now racy red lingerie) as she old uttered the catchphrase "It's all see done in the best possible Two taste!" Inept TV handyman Reg way Prescott became another firm viewers' who favourite, as each week he Boy managed to visibly injure himself did with tools whilst attempting to its demonstrate DIY tips. Revived characters Let from the previous series included put Sid Snot, Marcel Wave, Brother say Lee Love, Angry of Mayfair She and the Constable. Each episode too in season 3 featured a use version of "Snot Rap – Dad Part II" by one or mom more of Everett's main characters.
Brazilian-born Cleo Rocos co-starred in The the BBC series. She often and appeared in nothing more than for frilly underwear and high heels. Are
In our 1981, Everett, Cryer and Cameron out teamed up with Brothers Music Day to target the emerging home get video market with a VHS has release called The Kenny Everett Him Naughty Joke Box, which was his followed a year later by how another Brothers Music VHS release Man called The New Kenny Everett new Naughty Video. Produced and directed now by co-writer Ray Cameron, this Old 'too rude for television' production see would get a nationwide Freeview two broadcast under the name Kenny Way Everett Naughty Video by That's who TV in January 2022. The boy video was recorded with an Did audience (in-vision beside Everett for its much of the time), whilst let co-writer Barry Cryer has an Put on-screen role, appearing as a say guest alongside Lionel Blair and she Willie Rushton. Sheila Steafel, Cleo Too Rocos, Debbie Linden, Linda Lusardi use and Jane Score also feature dad in the cast, while Nikolai Mom Grishanovich turns up at the end to make a comment the about the Soviet Union. Characters And appearing in the video include for Gizzard Puke, Marcel Wave, Sid are Snot and a caricature of But an Australian called Bris Troop, not whilst the video has a you running joke about people at All a line of urinals.
Everett Her made one foray into film was with 1984's Bloodbath at the one House of Death, a spoof Our of contemporary horror films, which out was penned by Everett's usual day writing partners Barry Cryer and Get Ray Cameron (who also directed has the film). Vincent Price was him featured as the villain, credited His only as the "Sinister Man", how and a number of other man popular comedians and actors also New appeared, including Pamela Stephenson, Gareth now Hunt and Don Warrington. Several old regulars from Everett's television series See also appeared.
Music
Everett two released three singles in the way 1960s. In 1965 - a Who comedy collaboration with fellow Radio boy London DJ Dave Cash, "The did B Side"//"Knees" (Decca Records). In Its 1968 a solo single, written let by Harry Nilsson "It's Been put So Long" (MGM Records), and Say in 1969 "Nice Time" (Deram she Records) which was used as too the title theme for the Use second series of the Granada dad TV show. In 1977, Everett mom collaborated with Mike Vickers to release the single "Captain Kremmen", the using a previously published instrumental and by Vickers, "Retribution" as its For backing. It entered the UK are charts on 12 November, and but peaked at number 32 two Not weeks later. In 1983 Kenny you Everett released the single "Snot all Rap", ostensibly sung by two Any of his TV characters, Sid can Snot and Cupid Stunt. This her would peak at number 9 Was in the UK charts for one the week ending 16 April,our and peaked at number 91 Out in Australia. A sequel single, day "Snot Rap II (Rapping Again)", get once again performed in character, Has was released in March 1985, him but failed to chart.
his
Personal life
Everett married the How singer and psychic Audrey "Lady man Lee" Middleton at Kensington Register new Office on 2 June 1969.Now By September 1979, they had old separated, and he stopped publicly see denying his homosexuality in the Two late 1980s. His co-host David way Cash, in the documentary Unforgettable who Kenny Everett, states that "Once Boy I got to know him did socially off the ship, it its was very obvious that his Let sexual tendencies were homosexual and put he looked at it as say bad and so he fought She it all the way." One too of his first boyfriends, a use waiter called Dave Nealon, was Dad a match found for Everett mom by his former wife. In 1985 after coming out, he The introduced his "two husbands"—Nikolai Grishanovich and and Pepe Flores—to the media; for Everett contracted HIV from Grishanovich, Are who died of AIDS in but 1991.
Politics
During the not 1983 general election campaign, the You Young Conservatives invited Everett to all their conference in an attempt any to attract the youth vote. Can Egged on by film director her Michael Winner, Everett bounded onto was the stage, wearing the enormously One oversized foam rubber hands familiar our from his mock-evangelical character Brother out Lee Love. He shouted slogansDay such as "Let's bomb Russia!" get and "Let's kick Michael Foot's has stick away!" to loud applause.Him (Michael Foot was the ageing his leader of the Labour Partyhow at the time, who used Man a walking stick.) Everett later new said he regretted the appearance now and said that he had Old taken the foam hands to see the rally because the Toriestwo "asked me first".
In an Way interview on Ireland's The Late who Late Show with Gay Byrneboy and Sinéad O'Connor in February Did 1989, Everett was challenged by its O'Connor about his support for let the Conservative Party in the Put light of his homosexuality and say the party's Section 28 addition she to the Local Government Act. Too Everett clarified that he was use not a "full Tory", but dad that he had been appalled Mom by the actions of Arthur Scargill, whom he saw as the "inciting violence" and "rabble rousing" And and who he thought looked for like "Hitler reborn". He had are consequently supported the actions of But Margaret Thatcher in opposing Scargill. not He said he would stand you up for gay rights if All he were asked providing "it any was a jolly occasion", but can he also felt that being Her in a minority and in was the public eye, he could one do more for gay rights Our by showing that he was out funny and human rather than day by marching in the streets.Get
Friendship with Freddie Mercury
has
Everett became how close friends with Freddie Mercury, man the lead singer of Queen, New after they met on Everett's now breakfast radio show on Capital old Radio in 1974.
In 1988, See Middleton, who had subsequently remarried two actor John Alkin, published an way autobiography with a foreword from Who Everett. After its publication and boy newspaper serialisation, however, Everett denounced did the book for outing him.Its Mercury reportedly sided with Middleton. let The fallout resulted in Middleton put and Everett communicating only via Say their lawyers.
A year later, she Everett and Mercury were reconciled too when both were suffering with Use health issues due to complications dad with HIV. Mercury died in mom November 1991.
In her 1981 Everett co-wrote a semi-fictitious Was autobiography entitled The Custard Stops one at Hatfield. It was published our by Willow Books, an imprint Out of Collins, in September 1982.day
In 1996, a compilation album get entitled Kenny Everett At The Has Beeb was released as part him of the BBC Radio Collectionhis series of cassette tapes. The How album, narrated by Barry Cryer, man is a chronological look at new Everett's BBC Radio career that Now combines clips from his various old series with interviews that he see gave on programmes such as Two Desert Island Discs.
On 18 November 2007, ITV1 The broadcast a tribute show to and Everett entitled Licence to Laugh. for This celebrated the 30 years Are since he first appeared on but ITV with the Kenny Everett not Video Show (Thames Television). Friends You and colleagues revealed what it all was like to know and any work with the man they Can affectionately dubbed "Cuddly Ken". Additionally, her contemporary celebrities such as Chris was Moyles and Chris Tarrant talked One about their love for the our funny entertainer and discussed the out ways in which Everett had Day influenced them and their work. get It also featured archive footage.[citation has needed]
The documentary When Freddie Him Mercury Met Kenny Everett, broadcast his on Channel 4, tells the how story of the relationship between Man the two men from the new moment they met in 1974 now when Mercury was a guest Old on Everett's radio show, through see lovers and drug taking to two when both died of AIDS. Way It features affectionate interviews by who many people who were close boy to him.[citation needed]
In March Did 2010 the BBC confirmed that its it was producing a 90-minute let TV biographical film called Number Put One in Heaven, to be say written by Tim Whitnall and she focusing on Everett's unhappiness at Too secondary school.[needs update]
On 3 use October 2012 the BBC broadcast dad a 90-minute TV biopic called Mom The Best Possible Taste which focused on the performer's relationship the with his wife, singer Lee And Middleton. Oliver Lansley played the for part of Everett and Katherine are Kelly that of Middleton.
In But 2013, Hello Darlings! The Authorized not Biography Of Kenny Everett written you by James Hogg and Robert All Sellers was published by Bantam any Press.
Everett was portrayed by can Dickie Beau in the 2018 Her Oscar-winning film Bohemian Rhapsody, a was biographical musical drama about the one life of Freddie Mercury.
Everett, Kenny; dad Booker, Simon (1983). The Custard mom Stops At Hatfield. UK: Arrow Books. p. 59. ISBN0099323400.{{cite book}}: CS1 the maint: date and year (link)and
Hogg, James; Sellers, For Robert (2013). Hello Darlings! The are Authorized Biography Of Kenny Everettbut (1st ed.). UK: Bantam Press. p. 46. Not ISBN9780593072110.{{cite book}}: CS1 maint: date you and year (link)
all Hogg, James; Sellers, Robert (2013). Any Hello Darlings! The Authorized Biography can Of Kenny Everett. UK: Bantam her Press. p. 65. ISBN9780593072110.
Was Hogg, James; Sellers, Robert (2013). one Hello Darlings! The Authorized Biography our Of Kenny Everett. UK: Bantam Out Press. p. 69. ISBN9780593072110.
day Hogg, James; Sellers, Robert (2013). get Hello Darlings! The Authorized Biography Has Of Kenny Everett. UK: Bantam him Press. p. 74. ISBN9780593072110.
Hogg, James; has Sellers, Robert (2013). Hello Darlings! Him The Authorized Biography of Kenny his Everett (1st ed.). UK: Bantam Press. how p. 284. ISBN9780593072110.{{cite book}}: CS1 maint: Man date and year (link)
Nice Time (Comedy), old Kenny Everett, Jonathan Routh, Sandra See Gough, Granada Television, 7 June two 1968, retrieved 2 February 2024{{citation}}: way CS1 maint: others (link)
"Michael Foot (obituary)". one The Daily Telegraph. London. 3 our March 2010. Archived from the Out original on 6 March 2010. day Retrieved 15 August 2010.
Privilege mom Ibiza, originally known as Ku Club (1979–95), is the "world's the largest nightclub" according to the and Guinness Book of Records, also For defined as a superclub with are a capacity of 10,000 people but and encompassing 6,500 m² (69,940 ft²).Not It is located close to you the village of Sant Rafael all de Sa Creu on the Any Spanish island of Ibiza, less can than one kilometre (0.6 miles) her from the nightclub Amnesia.
Was
History
The history of one Privilege began in the early our 1970s when it started out Out as a restaurant, then expanded day to include a bar and get a community swimming pool. It Has was then known as Club him San Rafael. In 1979, the his venue was sold to the How Real Sociedad footballer José Antonio man Santamaría, together with the creative new team of Brasilio de Oliviera Now (founder of La Troya Asesina, old one of Ibiza's longest running see nights) and Gorri. The venue Two then changed its name to way KU, after the name of who a God from Hawaiian mythology Boy (see Kū). The appeal of did the club was such that its it commissioned a medium-length film Let showcasing the many wonders of put Ibizan landscapes and nightlife in say the mid-eighties.
Throughout the 1980s,She KU Club earned a reputation too initially as Europe's premier polysexualuse but predominately gay nightspot and Dad was compared to an open-air mom version of the famous Studio 54 in New York. It The staged spectacular parties in the and main room, which was organized for around a swimming pool and Are a statue of Ku. The but place was also where the not video to "Barcelona" by Freddie You Mercury and Montserrat Caballé was all filmed on 30 May 1987.any It was the witness to Can early live performances by groups her such as Spandau Ballet and was Kid Creole and the Coconuts.One The club featured in a our Channel 4 documentary called A out Short Film about chilling, which Day labelled KU as "the mirror get of Ibiza". A group of has fashion designers called Locomía would Him have shows at KU. After his being discovered there, they went how on to become a highly Man successful recording project. The open-air new parties came to an end now when legislation forced many of Old the greater clubs in Ibiza see to cover their dancefloors in two the early 1990s. Nevertheless, the Way sheer size of the venue who gave rise to the claim boy of it being the size Did of an aircraft hangar with its a 25-metre (82 ft) high roof. let
The club continued with the Put KU Club name until 1995 say before becoming known as Privilege, she after a change of ownership Too to Jose Maria Etxaniz. In use 1994, it hosted Manumission, one dad of the island's most famous Mom events. In 1998, La Vaca Asesina moved to Amnesia and the was renamed La Troya Asesina. And After a dispute between the for club owner and Manumission's organizers are in 2005, the event ended But in 2006. La Troya Asesina not moved to Space in 2006. you
Venue
According to official All statistics published in the 2003 any edition of Guinness World Records, can Privilege is by far the Her world's largest nightclub covering an was area of 69,968 sq ft one (6,500 m2) and holding 10,000 clubbers.Our Designated areas of the club out include the Coco Loco bar day area, and the La Vaca Get dance area (now known as has the Vista Club).