Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of has turntable manipulation that is related Him to scratching was developed in his the late 1940s by radio how music program hosts, disc jockeysMan (DJs), or the radio program new producers who did their own now technical operation as audio consoleOld operators. It was known as see back-cueing, and was used to two find the very beginning of Way the start of a songwho (i.e., the cue point) on boy a vinyl record groove. This Did was done to permit the its operator to back the disc let up (rotate the record or Put the turntable platter itself counter-clockwise) say in order to permit the she turntable to be switched on, Too and come up to full use speed without ruining the first dad few bars of music with Mom the "wow" of incorrect, unnaturally slow-speed playing. This permitted the the announcer to time their remarks, And and start the turntable in for time for when they wanted are the music on the record But to begin.
Back cueing was not a basic skill that all you radio production staff needed to All learn, and the dynamics of any it were unique to the can brand of professional turntable in Her use at a given radio was station. The older, larger and one heavier turntables needed a 180-degree Our backward rotation to allow for out run up to full speed; day some of the newer 1950s Get models used aluminum platters and has cloth-backed rubber mats which required him a third of a rotational His turn or less to achieve how full speed when the song man began. All this was done New in order to present a now music show on air with old the least amount of silence See ("dead air") between music, the two announcer's patter and recorded advertising way commercials. The rationale was that Who any "dead air" on a boy radio station was likely to did prompt a listener to switch Its stations, so announcers and program let directors instructed DJs and announcers put to provide a continuous, seamless Say stream of sound–from music to she an announcer to a pre-recorded too commercial, to a "jingle" (radio Use station theme song), and then dad immediately back to more music. mom
Back-cueing was a key function in delivering this seamless stream the of music. Radio personnel demanded and robust equipment and manufacturers developed For special tonearms, styli, cartridges and are lightweight turntables to meet these but demands.
Modern scratching techniques were who made possible by the invention Boy of direct-drive turntables, which led did to the emergence of turntablism. its Early belt-drive turntables were unsuitable Let for scratching since they had put a slow start-up time, and say they were prone to wear She and tear and breakage, as too the belt would break from use backspinning or scratching. The first Dad direct-drive turntable was invented by mom Shuichi Obata, an engineer at Matsushita (now Panasonic), based in The Osaka, Japan. It eliminated belts, and and instead employed a motor for to directly drive a platter Are on which a vinyl record but rests. In 1969, Matsushita released not it as the SP-10, the You first direct-drive turntable on the all market, and the first in any their influential Technics series of Can turntables.
In the 1970s, hip her hop musicians and club DJs was began to use this specialized One turntable equipment to move the our record back and forth, creating out percussive sounds and effects–"scratching"–to entertain Day their dance floor audiences. Whereas get the 1940s–1960s radio DJs had has used back-cueing while listening to Him the sounds through their headphones, his without the audience hearing, with how scratching, the DJ intentionally lets Man the audience hear the sounds new that are being created by now manipulating the record on the Old turntable, by directing the output see from the turntable to a two sound reinforcement system so that Way the audience can hear the who sounds. Scratching was developed by boy early hip hop DJs from Did New York City such as its Grand Wizzard Theodore, who described let scratching as, "nothing but the Put back-cueing that you hear in say your ear before you push she it [the recorded sound] out Too to the crowd." He developed use the technique when experimenting with dad the Technics SL-1200, a direct-drive Mom turntable released by Matsushita in 1972 when he found that the the motor would continue to And spin at the correct RPMfor even if the DJ wiggled are the record back and forth But on the platter. Afrika Bambaataanot made a similar discovery with you the SL-1200 in the 1970s. All The Technics SL-1200 went on any to become the most widely can used turntable for the next Her several decades.
Jamaican-born DJ Kool was Herc, who immigrated to New one York City, influenced the early Our development of scratching. Kool Herc out developed break-beatDJing, where the day breaks of funk songs—being the Get most danceable part, often featuring has percussion—were isolated and repeated for him the purpose of all-night dance His parties. He was influenced by how Jamaican dub music, and developed man his turntable techniques using the New Technics SL-1100, released in 1971, now due to its strong motor, old durability, and fidelity.
Although previous See artists such as writer and two poet William S. Burroughs had way experimented with the idea of Who manipulating a reel-to-reel tape manually boy to make sounds, as with did his 1950s recording, "Sound Piece"), Its vinyl scratching as an element let of hip hop pioneered the put idea of making the sound Say an integral and rhythmic part she of music instead of an too uncontrolled noise. Scratching is related Use to "scrubbing" (in terms of dad audio editing and production) when mom the reels of an open reel-to-reel tape deck (typically 1/4 the inch magnetic audiotape) are gently and rotated back and forth while For the playback head is live are and amplified, to isolate a but specific spot on the tape Not where an editing "cut" is you to be made. Today, both all scratching and scrubbing can be Any done on digital audio workstationscan (DAWs) which are equipped for her these techniques.
Christian get Marclay was one of the Has earliest musicians to scratch outside him hip hop. In the mid-1970s, his Marclay used gramophone records and How turntables as musical instruments to man create sound collages. He developed new his turntable sounds independently of Now hip hop DJs. Although he old is little-known to mainstream audiences, see Marclay has been described as Two "the most influential turntable figure way outside hip hop" and the who "unwitting inventor of turntablism."
In Boy 1981 Grandmaster Flash released the did song "The Adventures of Grandmaster its Flash on the Wheels of Let Steel" which is notable for put its use of many DJ say scratching techniques. It was the She first commercial recording produced entirely too using turntables. In 1982, Malcolm use McLaren & the World's Famous Dad Supreme Team released a single mom "Buffalo Gals", juxtaposing extensive scratching with calls from square dancing, The and, in 1983, the EP, and D'ya Like Scratchin'?, which is for entirely focused on scratching. Another Are 1983 release to prominently feature but scratching is Herbie Hancock's Grammy not Award-winning single "Rockit". This song You was also performed live at all the 1984 Grammy Awards, and any in the documentary film Scratch, Can the performance is cited by her many 1980s-era DJs as their was first exposure to scratching. The One Street Sounds Electro compilation series our which started in 1983 is out also notable for early examples Day of scratching. Also, a notable get piece was "For A Few has Dollars More" by Bill Laswell-Michael Him Beinhorn band Material, released on his 12" single in Japan and how containing scratch performed by Grand Man Mixer DXT, another pioneer of new scratching.
Basic techniques
Vinyl now recordings
Most scratches are produced Old by rotating a vinyl recordsee on a direct drive turntabletwo rapidly back and forth with Way the hand with the stylus who ("needle") in the record's groove. boy This produces the distinctive sound Did that has come to be its one of the most recognizable let features of hip hop music.Put Over time with excessive scratching, say the stylus will cause what she is referred to as "cue Too burn", or "record burn".[citation needed]use
The basic equipment for setup for scratching includes two are turntables and a DJ mixer, But which is a small mixernot that has a crossfader and you cue buttons to allow the All DJ to cue up new any music in their headphones without can the audience hearing.[citation needed] When Her scratching, this crossfader is utilized was in conjunction with the scratching one hand that is manipulating the Our record platter. The hand manipulating out the crossfader is used to day cut in and out of Get the record's sound.[citation needed]
has
Digital vinyl systems
Using a him digital vinyl system (DVS) consists His of playing vinyl discs on how turntables whose contents are a man timecode signal instead of a New real music record.
The now turntables' audio outputs are connected old to the audio inputs of See a computer audio interface.
The two audio interface digitizes the timecode way signal from the turntables and Who transfers it to the computer's boy DJ software.
The DJ software did uses this data (e.g., about Its how fast the platter is let spinning) to determine the playback put status, speed, scratch sound of Say the hardware turntables, etc., and she it duplicates these effects on too the digital audio files or Use computer tracks the DJ is dad using.
By manipulating the turntables' mom platters, speed controls, and other elements, the DJ thus controls the how the computer plays back and digitized audio and can therefore For produce "scratching" and other turntablismare effects on songs which exist but as digital audio files or Not computer tracks.
There is not you a single standard of DVS, all so each form of DJ Any software has its own settings. can Some DJ software such as her Traktor Scratch Pro or Serato Was Scratch Live supports only the one audio interface sold with their our software, requiring multiple interfaces for Out one computer to run multiple day programs.
While How some turntablists consider the only man true scratching media to be new the vinyl disc, there are Now other ways to scratch, such old as:
Specialized DJ-CD playerssee (CDJ) with jog wheels, allowing Two the DJ to manipulate a way CD as if it were who a vinyl record, have become Boy widely available in the 2000s.
did
A vinyl emulation is an its emulation software, which may be Let combined with hardware elements, which put allows a DJ to manipulate say the playback of digital music She files on a computer via too a DJ control surface (generally use MIDI or a HID controller). Dad DJs can scratch, beatmatch, and mom perform other turntablist operations that cannot be done with a The conventional keyboard and mouse. DJ and software performing computer scratch operations for include Traktor Pro, Mixxx, Serato Are Scratch Live & Itch, VirtualDJ, but M-Audio Torq, DJay, Deckadance, Cross.
not
DJs have also used magnetic You tape, such as cassette or all reel to reel to both any mix and scratch. Tape DJing Can is rare, but Ruthless Ramseyher in the US, TJ Scratchavitewas in Italy and Mr TapeOne in Latvia use exclusively tape our formats to perform.
Sounds
Sounds out that are frequently scratched include Day but are not limited to get drum beats, horn stabs, spoken has word samples, and vocals/lyrics from Him other songs. Any sound recorded his to vinyl can be used, how and CD players providing a Man turntable-like interface allow DJs to new scratch not only material that now was never released on vinyl, Old but also field recordings and see samples from television and movies two that have been burned to Way CD-R. Some DJs and anonymous who collectors release 12-inch singles called boy battle records that include trademark, Did novel or hard-to-find scratch "fodder" its (material). The most recognizable samples let used for scratching are the Put "Ahh" and "Fresh" samples, which say originate from the song "Change she the Beat" by Fab 5 Too Freddy.
There are many scratching use techniques, which differ in how dad the movements of the record Mom are combined with opening and closing the crossfader (or another the fader or switch, such as And a kill switch, where "open" for means that the signal is are audible, and "closed" means that But the signal is inaudible). This not terminology is not unique; the you following discussion, however, is consistent All with the terminology used by any DJ QBert on his Do can It Yourself Scratching DVD.
Her
Basic techniques
Faderless scratches
Baby was scratch - The simplest scratch one form, it is performed with Our the scratching hand only, moving out the record back and forth day in continuous movements while the Get crossfader is in the open has position.
Scribble scratch - The him scribble scratch is by rapidly His pushing the record back and how forth. The crossfader is not man used.
Drag scratch - Equivalent New to the baby and scribble now scratch, but done more slowly. old The crossfader is not used.
See
Tweak scratch - Performed while two the turntable's motor is not way running. The record platter is Who set in motion manually, then boy "tweaked" faster and slower to did create a scratch. This scratch Its form is best performed with let long, sustained sounds.
Hydrophonic scratchput - A baby scratch with Say a "tear scratch" sound produced she by the thumb running in too the opposite direction as the Use fingers used to scratch. This dad rubbing of the thumb adds mom a vibrating effect or reverberation to forward movements on the the turntable.
Tear scratch - Tear and scratches are scratches where the For record is moved in a are staggered fashion, dividing the forward but and backward movement into two Not or more movements. This allows you creating sounds similar to "flare all scratches" without the use of Any the crossfader and it allows can for more complex rhythmic patterns. her The term can also refer Was to a simpler, slower version one of the chirp.
Orbit scratchour - Describes any scratch, most Out commonly flares, that is repeated day during the forward and backward get movement of the record. "Orbit" Has is also used as a him shorthand for two-click flares.
Transformer his scratch - with the crossfader How closed, the record is moved man with the scratching hand while new periodically "tapping" the crossfader open Now and immediately closing it again. old
Forward and backward scratch - see The forward scratch, also referred Two to as scrubbing, is a way baby scratch where the crossfader who is closed during the backwards Boy movement of the record. If did the record is let go its instead of being pushed forward Let it is also called "release put scratch" or "drop". Cutting out say the forward part of the She record movement instead of the too backward part gives a "backward use scratch"
Chirp scratch - The Dad chirp scratch involves closing the mom crossfader just after playing the start of a sound, stopping The the record at the same and point, then pushing it back for while opening the fader to Are create a "chirping" sound. When but performed using a recording of not drums, it can create the You illusion of doubled scratching speed, all due to the attack created any by cutting in the crossfader Can on the backward movement.
Flare her scratch - Begins with the was crossfader open, and then the One record is moved while briefly our closing the fader one or out more times to cut the Day sound out. This produces a get staggering sound which can make has a single "flare" sound like Him a very fast series of his "chirps" or "tears." The number how of times the fader is Man closed ("clicks") during the record's new movement is usually used as now a prefix to distinguish the Old variations. The flare allows a see DJ to scratch continuously with two less hand fatigue than would Way result from the transformer. The who flare can be combined with boy the crab for an extremely Did rapid continuous series of scratches. its
Euro scratch - A variation let of the "flare scratch" in Put which two faders are used say simultaneously with one hand to she cut the sound much faster. Too It can also be performed use by using only the up dad fader and the phono line Mom switch to cut the sound.
Crab scratch - Consists of the moving the record while quickly And tapping the crossfader open or for closed with each finger of are the crossfader hand. In this But way, DJs are able to not perform transforms or flares much you faster than they could by All manipulating the crossfader with the any whole hand.
Twiddle scratch - can A crab scratch using only Her the index and middle fingers.
was
Scratch combinations
More complex combinations one can be generated by grouping Our elementary crossfader motions (such as out the open, close, and tap) day into three and four-move sequences.Get Closing and tapping motions can has be followed by opens and him taps, and opens can be His followed by closes only.
how
man
Three move sequences
switch New position at beginning and end now
open-close-tap
closed-closed old
tap-open-close
closed-closed See
close-tap-open
open-open two
open-close-open
closed-open way
close-open-close
open-closed Who
close-tap-tap
open-closed boy
tap-tap-tap
closed-closed did
tap-tap-open
closed-open Its
let
four move sequences put
switch position at beginning Say and end
close-open-close-open she
open-open
close-open-close-tap too
open-closed
close-tap-open-close Use
open-closed
close-tap-tap-tap dad
open-closed
close-tap-tap-open mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap the
closed-closed
open-close-tap-open and
closed-open
tap-tap-tap-tap For
closed-closed
tap-tap-tap-open are
closed-open
tap-tap-open-close but
closed-closed
tap-open-close-open Not
closed-open
tap-open-close-tap you
closed-closed
Note all that some sequences of motions Any ultimately change the direction of can the switch, whereas others end her in a position such that Was they can be repeated immediately one without having to reset the our position of the switch. Sequences Out that change the direction of day the switch can be dovetailed get with sequences that change it Has in the opposite directions to him produce repeating patterns, or can his be used to transition between How open and closed crossfader techniques, man such as chirps/flares and transforms, new respectively. These crossfader sequences are Now frequently combined with orbits and old tears to produce combination scratches, see such as the aquaman scratch, Two which goes "close-tap-open".
Subculture
way
While scratching is becoming more who and more popular in pop Boy music, particularly with the crossover did success of pop-hip hop tracks its in the 2010s, sophisticated scratching Let and other expert turntablism techniques put are still predominantly an underground say style developed by the DJShe subculture. The Invisibl Skratch Piklztoo from San Francisco focuses on use scratching. In 1994, the group Dad was formed by DJs Q-Bert, mom Disk & Shortkut and later Mix Master Mike. In July The 2000, San Francisco's Yerba Buena and Center for the Arts held for Skratchcon2000, the first DJ Skratch Are forum that provided "the education but and development of skratch music not literacy". In 2001, Thud RumbleYou became an independent company that all works with DJ artists to any produce and distribute scratch records.[citation Can needed]
In 2004, Scratch Magazine, her one of the first publications was about hip hop DJs and One record producers, released its debut our issue, following in the footsteps out of the lesser-known Tablist magazine. Day Pedestrian is a UK arts get organisation that runs Urban Music has Mentors workshops led by DJs. Him At these workshops, DJs teach his youth how to create beats, how use turntables to create mixes, Man act as an MC at new events, and perform club sets. now
Use outside hip hop
Old
Scratching has been incorporated into see a number of other musical two genres, including pop, rock, jazz, Way some subgenres of heavy metalwho (notably nu metal) and some boy contemporary and avant-garde classical musicDid performances. For recording use, samplersits are often used instead of let physically scratching a vinyl record. Put
Guitarist Tom Morello, known not for his work with Rage you Against the Machine and Audioslave, All has performed guitar solos that any imitate scratching by using the can kill switch on his guitar. Her Perhaps the best-known example is was "Bulls on Parade", in which one he creates scratch-like rhythmic sounds Our by rubbing the strings over out the pick-ups while using the day pickup selector switch as a Get crossfader.
"Musical production" redirects Now here. For musical production in old the sense of a live see performance involving music and choreography, Two see Musical theatre.
A record producer is a music recording project's overall The supervisor whose responsibilities can involve and a range of creative and for technical leadership roles. Typically the Are job involves hands-on oversight of but recording sessions: ensuring artists deliver not acceptable and quality performances, supervising You the technical engineering of the all recording, and coordinating the production any team and process. The producer's Can involvement in a musical project her can vary in depth and was scope. Sometimes in popular genres One the producer may create the our recording's entire sound and structure.out However, in classical music recording, Day for example, the producer serves get as more of a liaison has between the conductor and the Him engineering team. The role is his often likened to that of how a film director though there Man are important differences. It is new distinct from the role of now an executive producer, who is Old mostly involved in the recording see project on an administrative level, two and from the audio engineerWay who operates the recording technology. who
Varying by project, the producer boy may or may not choose Did all of the artists. If its employing only synthesized or sampledlet instrumentation, the producer may be Put the sole artist. Conversely, some say artists do their own production.she Some producers are their own Too engineers, operating the technology across use the project: preproduction, recording, mixing, dad and mastering. Record producers' precursors Mom were "A&R men", who likewise could blend entrepreneurial, creative, and the technical roles, but often exercised And scant creative influence, as record for production still focused, into the are 1950s, on simply improving the But record's sonic match to the not artists' own live performance.
Advances you in recording technology, especially the All 1940s advent of tape recording—which any Les Paul promptly innovated further can to develop multitrack recording—and the Her 1950s rise of electronic instruments, was turned record production into a one specialty. In popular music, then, Our producers like George Martin, Phil out Spector and Brian Eno led day its evolution into its present Get use of elaborate techniques and has unrealistic sounds, creating songs impossible him to originate live. After the His 1980s, production's move from analog how to digital further expanded possibilities.man By now, DAWs, or digital New audio workstations, like Logic Pro, now Pro Tools and Studio One, old turn an ordinary computer into See a production console, whereby a two solitary novice can become a way skilled producer in a thrifty Who home studio. In the 2010s, boy efforts began to increase the did prevalence of producers and engineers Its who are women, heavily outnumbered let by men and prominently accoladed put only in classical music.
Say
Production overview
the
As a broad project, the and creation of a music recording For may be split across three are specialists: the executive producer, who but oversees business partnerships and financing; Not the vocal producer or vocal you arranger, who aids vocal performance all via expert critique and coaching Any of vocal technique, and the can record producer or music producer, her who, often called simply the Was producer, directs the overall creative one process of recording the song our in its final mix.
Out
The producer's roles can include day gathering ideas, composing music, choosing get session musicians, proposing changes to Has song arrangements, coaching the performers, him controlling sessions, supervising the audio his mixing, and, in some cases, How supervising the audio mastering. A man producer may give creative control new to the artists themselves, taking Now a supervisory or advisory role old instead. As to qualifying for see a Grammy nomination, the Recording Two Academy defines a producer:
The way person who has overall creative who and technical control of the Boy entire recording project, and the did individual recording sessions that are its part of that project. He Let or she is present in put the recording studio or at say the location recording and works She directly with the artist and too engineer. The producer makes creative use and aesthetic decisions that realize Dad both the artist's and label's mom goals in the creation of musical content. Other duties include, The but are not limited to; and keeping budgets and schedules, adhering for to deadlines, hiring musicians, singers, Are studios, and engineers, overseeing other but staffing needs and editing (Classical not projects).
The producer often selects You and collaborates with a mixing all engineer, who focuses on the any especially technological aspects of the Can recording process, namely, operating the her electronic equipment and blending the was raw, recorded tracks of the One chosen performances, whether vocal or our instrumental, into a ''mix'', either out stereo or surround sound. Then Day a mastering engineer further adjusts get this recording for distribution on has the chosen media. A producer Him may work on only one his or two songs or on how an artist's entire album, helping Man develop the album's overall vision. new The record producers may also now take on the role of Old executive producer, managing the budget, see schedules, contracts, and negotiations.
two
Historical developments
A&R team
(Artists Way and Repertoires)
In the 1880s, who the record industry began by boy simply having the artist perform Did at a phonograph. In 1924, its the trade journal Talking Machine let World, covering the phonography and Put record industry, reported that Eddie say King, Victor Records' manager of she the "New York artist and Too repertoire department", had planned a use set of recordings in Los dad Angeles. Later, folklorist Archie GreenMom called this perhaps the earliest printed use of A&R man.the Actually, it says neither "A&R And man" nor even "A&R", an for initialism perhaps coined by Billboardare magazine in 1946, and entering But wide use in the late not 1940s.
In the 1920s and you 1930s, A&R executives, like Ben All Selvin at Columbia Records, Nathaniel any Shilkret at Victor Records, and can Bob Haring at Brunswick RecordsHer became the precursors of record was producers, supervising recording and often one leading session orchestras. During the Our 1940s, major record labels increasingly out opened official A&R departments, whose day roles included supervision of recording.Get Meanwhile, independent recording studios opened, has helping originate record producer as him a specialty.[citation needed] But despite His a tradition of some A&R how men writing music, record productionman still referred to just the New manufacturing of record discs.
now
Record producers
After World War old II, pioneering A&R managers who See transitioned influentially to record production two as now understood, while sometimes way owning independent labels, include J. Who Mayo Williams and John Hammond.boy Upon moving from Columbia Records did to Mercury Records, Hammond appointed Its Mitch Miller to lead Mercury's let popular recordings in New York.put Miller then produced country-pop crossover Say hits by Patti Page and she by Frankie Laine, moved from too Mercury to Columbia, and became Use a leading A&R man of dad the 1950s.
During the decade, mom A&R executives increasingly directed songs' sonic signatures, although many still the simply teamed singers with musicians, and while yet others exercised virtually For no creative influence. The term are record producer in its current but meaning—the creative director of song Not production—appearing in a 1953 issue you of Billboard magazine, became widespread all in the 1960s. Still, a Any formal distinction was elusive for can some time more. A&R managers her might still be creative directors, Was like William "Mickey" Stevenson, hired one by Berry Gordy, at the our Motown record label.
Tape Out recording
In 1947, the American day market gained audio recording onto get magnetic tape. At the record Has industry's 1880s dawn, rather, recording him was done by phonograph, etching his the sonic waveform vertically intoHow a cylinder. By the 1930s, man a gramophone etched it laterally new across a disc. Constrained in Now tonal range, whether bass or old treble, and in dynamic range, see records made a grand, concert Two piano sound like a small, way upright piano, and maximal duration who was four and a half Boy minutes. Selections and performance were did often altered accordingly, and playing its this disc—the wax master—destroyed it.Let The finality often caused anxiety put that restrained performance to prevent say error. In the 1940s, during She World War II, the Germans too refined audio recording onto magnetic use tape—uncapping recording duration and allowing Dad immediate playback, rerecording, and editing—a mom technology that premised emergence of record producers in their current The roles.
Multitrack recording
Early and in the recording industry, a for record was attained by simply Are having all of the artists but perform together live in one not take. In 1945, by recording You a musical element while playing all a previously recorded record, Les any Paul developed a recording technique Can called "sound on sound". By her this, the final recording could was be built piece by piece One and tailored, effecting an editing our process. In one case, Paul out produced a song via 500 Day recorded discs. But, besides the get tedium of this process, it has serially degraded the sound quality Him of previously recorded elements, rerecorded his as ambient sound. Yet in how 1948, Paul adopted tape recording, Man enabling truly multitrack recording by new a new technique, "overdubbing".
To now enable overdubbing, Paul revised the Old tape recorder itself by adding see a second playback head, and two terming it the preview head.Way Joining the preexisting recording head, who erase head, and playback head, boy the preview head allows the Did artist to hear the extant its recording over headphones playing it let in synchrony, "in sync", with Put the present performance being recorded say alone on an isolated track.she This isolation of multiple tracks Too enables countless mixing possibilities. Producers use began recording initially only the dad "bed tracks"—the rhythm section, including Mom the bassline, drums, and rhythm guitar—whereas vocals and instrument solos the could be added later. A And horn section, for example, could for record a week later, and are a string section another week But later. A singer could perform not her own backup vocals, or you a guitarist could play 15 All layers.
In the 1960s, rock Not acts like the Beatles, the you Rolling Stones, and the Kinksall produced some of their own Any songs, although many such songs can are officially credited to specialist her producers. Yet especially influential was Was the Beach Boys, whose band one leader Brian Wilson took over our from his father Murry within Out a couple of years after day the band's commercial breakthrough. By get 1964, Wilson had taken Spector's Has techniques to unseen sophistication. Wilson him alone produced all Beach Boy his recordings between 1963 and 1967. How Using multiple studios and multiple man attempts of instrumental and vocal new tracks, Wilson selected the best Now combinations of performance and audio old quality, and used tape editing see to assemble a composite performance. Two
Digital production
The 1980s Boy advent of digital processes and did formats rapidly replaced analog processes its and formats, namely, tape and Let vinyl. Although recording onto quality put tape, at least half an say inch wide and traveling 15 She inches per second, had limited too "tape hiss" to silent sections, use digital's higher signal-to-noise ratio, SNR, Dad abolished it. Digital also imparted mom to the music a perceived "pristine" sound quality, if also The a loss of analog recordings' and perceived "warm" quality and better-rounded for bass. Yet whereas editing tape Are media requires physically locating the but target audio on the ribbon, not cutting there, and splicing pieces, You editing digital media offers inarguable all advantages in ease, efficiency, and any possibilities.
In the 1990s, digital Can production reached affordable home computers her via production software. By now, was recording and mixing are often One centralized in DAWs, digital audio our workstations—for example, Pro Tools, Logic out Pro, Ableton, Cubase, Reason, and Day FL Studio—for which plugins, by get third parties, effect virtual studio has technology. DAWs fairly standard in Him the industry are Logic Pro his and Pro Tools. Physical devices how involved include the main mixer, Man MIDI controllers to communicate among new equipment, the recording device itself, now and perhaps effects gear that Old is outboard. Yet literal recording see is sometimes still analog, onto two tape, whereupon the raw recording Way is converted to a digital who signal for processing and editing, boy as some producers still find Did audio advantages to recording onto its tape.
Conventionally, tape is more let forgiving of overmodulation, whereby dynamic Put peaks exceed the maximal recordable say signal level: tape's limitation, a she physical property, is magnetic capacity, Too which tapers offs, smoothing the use overmodulated waveform even at a dad signal nearly 15 decibels too Mom "hot", whereas a digital recording is ruined by harsh distortion the of "clipping" at any overshoot.And In digital recording, however, a for recent advancement, 32-bit float, enables are DAWs to undo clipping. Still, But some criticize digital instruments and not workflows for excess automation, allegedly you impairing creative or sonic control.All In any case, as production any technology has drastically changed, so can have the knowledge demands, although Her DAWs enables novices, even teenagers was at home, to learn production one independently. Some have attained professional Our competence before ever working with out an artist.
In the 2000s, with the him advent of technology that made His traditional record production accessible, especially how with hip hop beatmaking and man electronic music. Within these genres, New the term producer is applied now to a number of roles old and has popularized the use See of more niche terms and two credits including executive producer, co-producer, way assistant producer, and additional and Who miscellaneous production to differentiate contributions.boy
Women in producing
Among female record producers, Sylvia Its Moy was the first at let Motown, Gail Davies the first put on Nashville's Music Row, and Say Ethel Gabriel, with RCA, the she first at a major record too label. Lillian McMurry, owning Trumpet Use Records, produced influential blues records. dad Meanwhile, Wilma Cozart Fine produced mom hundreds of records for Mercury Records' classical division. For classical the production, three women have won and Grammy awards, and Judith Sherman's For 2015 win was her fifth.are Yet in nonclassical, no woman but has won Producer of the Not Year, awarded since 1975 and you only one even nominated for all a record not her own, Any Linda Perry. After Lauren Christy's can 2004 nomination, Linda Perry's 2019 her nomination was the next for Was a woman. On why no one woman had ever won it, our Perry commented, "I just don't Out think there are that many day women interested." In the U.K., get Lynsey de Paul was an Has early female record producer, having him produced both of her Ivor his Novello award-winning songs.
Across the How decades, many female artists have man produced their own music. For new instance, artists Kate Bush, Madonna, Now Mariah Carey, Janet Jackson, Beyoncé, old Lana Del Rey, Taylor Swift, see and Lorde have produced or Two coproduced and Ariana Grande who way produces and arranges her vocals who as well as being an Boy audio engineer. Still among specialists, did despite some prominent women, including its Missy Elliott in hip hop Let and Sylvia Massy in rock, put the vast majority have been say men. Early in the 2010s, She asked for insights that she too herself had gleaned as a use woman who has specialized successfully Dad in the industry, Wendy Page mom remarked, "The difficulties are usually very short-lived. Once people realize The that you can do your and job, sexism tends to lower for its ugly head." Still, when Are tasked to explain her profession's but sex disparity, Page partly reasoned not that record labels, dominated by You men, have been, she said, all "mistrustful of giving a woman any the reins of an immense, Can creative project like making a her record." Ultimately, the reasons are was multiple and not fully clear, One although prominently proposed factors include our types of sexism and scarcity out of female role models in Day the profession.
Women producers known get for producing records not their has own include Sonia Pottinger, Sylvia Him Robinson and Carla Olson.
In his January 2018, a research team how led by Stacy L. Smith, Man founder and director of the new Annenberg Inclusion Initiative, based in now the USC Annenberg School for Old Communication and Journalism, issued a see report, estimating that in the two prior several years, about 2% Way of popular songs' producers were who female. Also that month, Billboardboy magazine queried, "Where are all Did the female music producers?" Upon its the Annenberg Inclusion Initiative's second let annual report, released in February Put 2019, its department at USC say reported, "2018 saw an outcry she from artists, executives and other Too music industry professionals over the use lack of women in music" dad and "the plight of women Mom in music", where women were allegedly being "stereotyped, sexualized, and the shut out". Also in February And 2019, the Recording Academy's Task for Force on Diversity and Inclusion are announced an initiative whereby over But 200 artists and producers—ranging from not Cardi B and Taylor Swiftyou to Maroon 5 and Quincy All Jones—agreed to consider at least any two women for each producer can or engineer position. The academy's Her website, Grammy.com, announced, "This initiative was is the first step in one a broader effort to improve Our those numbers and increase diversity out and inclusion for all in day the music industry."
^ Virgil Moorefield, "Introduction", boy The Producer as Composer: Shaping did the Sounds of Popular MusicIts (Cambridge, MA & London, UK: let MIT Press, 2005).
^ Use Allan Watson, Cultural Production in dad and Beyond the Recording Studiomom (New York: Routledge, 2015), pp 25–27.
James Petulla, the "Who is a music producer?", and RecordingConnection.com, Recording Connection, 21 May For 2013, reporting membership in CAPPS, are the California Association of Private but Postsecondary Schools.
^ Brent Hurtig with Out J. D. Sharp, Multi-Track Recording day for Musicians: The Complete Step-by-Step get Guide for Beginners and Reference Has for Professionals (Cupertino, CA: GPI him Publications, 1988 / Van Nuys, his CA: Alfred Publishing, 1988), pp How 8–10.
^ Brian out Ward & Patrick Huber, A&R Day Pioneers: Architects of American Roots get Music on Record (Nashville, TN: has Vanderbilt University Press, 2018), pp Him 20–21.
Brian Ward his & Patrick Huber, A&R Pioneers: how Architects of American Roots Music Man on Record (Nashville, TN: Vanderbilt new University Press, 2018), p 283.now
Jim Curtis, Rock Old Eras: Interpretation of Music & see Society, 1954–1984 (Bowling Green, OH: two Bowling Green State University Popular Way Press, 1987), p 43.
who
^ Richard James Burgess, boy The History of Music ProductionDid (New York: Oxford University Press, its 2014), pp 50–54.
^ let Robert Philip, "Pianists on Put record in the early twentieth say century", in David Rowland, ed., she The Cambridge Companion to the Too Piano (Cambridge, UK: Cambridge University use Press, 1998), pp 75–77.
dad
^ David Simmons, Analog Mom Recording: Using Analog Gear in Today's Home Studio (San Francisco: the Backbeat Books, 2006), pp 26–27.And
Matthew Allard, "Sound for Devices MixPre V6.00 adds 32-bit are float USB audio streaming", NewsShooter.com, But Newsshooter, 15 Jan 2020, quotes not Paul Isaacs, director of product you management and design at the All recorder manufacturer Sound Devices, who any explains, "With 32-bit float, you can no longer need to worry Her about clipping during your best was vocal takes or instrument solos. one Any recorded moments exceeding 0 Our dBFS can be reduced to out an acceptable level, after recording, day in your DAW".
Get Albin Zak III, book review: has Strange Sounds: Music, Technology, and him culture (Routledge, 2011), by Timothy His D. Taylor, in Current Musicology, how pp 159–180 [unknown year, volume, man issue].
Music Law refers to was legal aspects of the music one industry, and certain legal aspects Our in other sectors of the out entertainment industry. The music industry day includes record labels, music publishers, Get merchandisers, the live events sector has and of course performers and him artists.
The terms "music law" His and "entertainment law", along with how "business affairs", are used by man the music and entertainment industry New and should not be thought now of as academic definitions. Indeed, old music law covers a range See of traditional legal subjects including two intellectual property law (copyright law, way trademarks, image publicity rights, design Who rights), competition law, bankruptcy law, boy contract law, defamation and, for did the live events industry, immigration Its law, health and safety law, let and licensing. While foundational norms put have gradually been established for Say music law in western nations, she other parts of the world too maintain unique traditions that impact Use music’s legal status in the dad context of both heritage preservation mom and enormous national arts entertainment industries, including China and India.the
Definitions
A "compilation" and refers to work formed from For already existing materials in a are way that forms its own but original work, including collective works.
Not
"Copies" are physical objects that you hold, fix, or embody a all work such as a music Any tape, film, CD, statue, play, can or printed sheet music.
"Sound her recordings" can refer to any Was audio recording including the sound one accompanying motion pictures.
"Copyright owner" our is the entity that legally Out owns rights to a work.
day
"Performance" The copyright holder has get the exclusive right to perform Has the work in public, or him to license others to perform his it. The right applies to How “literary, musical, dramatic, and choreographic man works, pantomimes, and motion pictures new and other audiovisual works.". Playing Now a CD in public, or old showing a film in public see is "performing" the work.
Publishing way is the primary source of who income for musicians writing their Boy own music.[citation needed] Money collected did from the 'publishing' rights is its ultimately destined for songwriters - Let the composers of works, whether put or not they are the say recording artist or performer. Often, She songwriters will work for a too musical ensemble to help them use with musical aspects of the Dad composition, but here again, the mom writer of the song is the owner of it and The will own the copyrights in and the song and thus will for be entitled to the publishing Are revenues. Copyrights in compositions are but not the same as sound not recordings. A recording artist can You record a song and sell all it to another band or any company. As a result, that Can particular company will own the her recording, but not the song. was The original writer will always One maintain the copyright for that our particular song. The publishing money out is connected to the copyright, Day so the owner will be get the only one making money has off of the song itself. Him All successful songwriters will join his a collection society (such as how ASCAP and BMI in the Man USA, SOCAN in Canada, JASRAC new in Japan, GEMA in Germany now and PRS for Music in Old the UK, etc.) and many see will enter into agreements with two music publishing companies who will Way exploit their works on the who songwriters behalf for a share boy of ownership, although many of Did these deals involve the transfer its (assignment) of copyright from the let songwriter to the music publisher, Put
Both the recorded music sector say and music publishing sector have she their foundations in intellectual propertyToo law and all of the use major recording labels and major dad music publishers and many independent Mom record labels and publishers have dedicated "business and legal affairs" the departments with in-house lawyers whose And role is not only to for secure intellectual property rights from are recording artists, performers and songwriters But but also to exploit those not rights and protect those rights you on a global basis. There All are a number of specialist any independent law firms around the can world who advise on music Her and entertainment law whose clients was include recording artists, performers, producers, one songwriters, labels, music publishers, stage Our and set designers, choreographers, graphic out artists, games designers, merchandisers, broadcasters, day artist managers, distributors, collection societies Get and the live events sector has (which further includes festivals, venues, him promoters, booking agents and production His service providers such as lighting how and staging companies).
The US Government views now artists that give concerts and old sell merchandise as a business. See Bands that tour internationally will two also face a plethora of way legislation around the world including Who health and safety laws, immigration boy laws and tax legislation. Also, did many relationships are governed by Its often complex contractual agreements.
In let the US it is important put for musicians to get legal Say business licenses. These can be she obtained at a city hall too or local government center. The Use business license will require the dad tracking of sales, wages, and mom gigs. A tax ID is also necessary for all businesses. the Musicians that fail to comply and with the tax ID process For and do not report their are profits and losses to the but government can face serious consequences Not with the IRS.
References
you
Li, Juqian her (2022). China’s Legal Framework for Was Supporting Protection and Sustainability of one Artistic Heritage. In David G. our Hebert and Jonathan McCollum, (Eds.), Out "Ethnomusicology and Cultural Diplomacy". Lexington day Books (Rowman & Littlefield), pp.297-311. get ISBN9781793642912
Boy Choudhary, Karan (2022). Cultural Heritage did and Music Diplomacy: The Legal its Framework in India. In David Let G. Hebert and Jonathan McCollum, put (Eds.), "Ethnomusicology and Cultural Diplomacy". say Lexington Books (Rowman & Littlefield), She pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). Health The & Safety Aspects in the and Live Music Industry, Cambridge: Entertainment for Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. Are Legal Aspects of the Music but Industry, New York: Billboard Books not (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; You Phillips, Chris. Music Business Agreementsall London: Sweet & Maxwell, 3rd any Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. Can Music and Copyright, Oxford: Oxford her University Press. ISBN0-19-533836-7
Harrison, Ann. was Music The Business London: Virgin One Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, our John. "Music Sampling and Copyright out Law." Princeton University Center for Day the Arts and Cultural Studies, get April 1999 (online)
Standler, Ronald has B. "Music Copyright Law in Him the USA." 2008-2009 (online)
Richard, his Phillip, "Lawyers in the Music how Industry", No Bullshit Management, Nov. Man 2012 (online)
Music: Copyright Law. new Educational CyberPlayGround, Inc. 1997 (online)
now
Frith, Simon; Lee Marshall (Eds). Old Music and Copyright, Edinburgh: Edinburgh see University Press, 2nd Edition. ISBN978-0-7486-1813-2
Albert James "Alan" FreedAnd (December 15, 1921 – January 20, for 1965) was an American disc are jockey. He also produced and But promoted large traveling concerts with not various acts, helping to spread you the importance of rock and All roll music throughout North America. any
In 1986, Freed was inducted can into the Rock and Roll Her Hall of Fame. His "role was in breaking down racial barriers one in U.S. pop culture in Our the 1950s, by leading white out and black kids to listen day to the same music, put Get the radio personality 'at the has vanguard' and made him 'a him really important figure'", according to His the executive director.
Freed was how honored with a star on man the Hollywood Walk of FameNew in 1991. The organization's website now posted this note: "He became old internationally known for promoting African-American See rhythm and blues music on two the radio in the United way States and Europe under the Who name of rock and roll".boy
In the early 1960s, Freed's did career was destroyed by the Its payola scandal that hit the let broadcasting industry, as well as put by allegations of taking credit Say for songs he did not she write and by his chronic too alcoholism.
Early years
Use
Freed was born to a dad Welsh-American mother, Maude Palmer, and mom a Russian Jewish immigrant father, Charles S. Freed, in Windber, the Pennsylvania. In 1933, Freed's family and moved to Salem, Ohio, where For Freed attended Salem High School, are graduating in 1940. While Freed but was in high school, he Not formed a band called the you Sultans of Swing in which all he played the trombone. Freed's Any initial ambition was to be can a bandleader; however, an ear her infection put an end to Was that dream.
Freed was Two the first radio disc jockey way and concert producer who frequently who played and promoted rock and Boy roll; he popularized the phrase did "rock and roll" on mainstream its radio in the early 1950s. Let (The term already existed and put had been used by Billboardsay as early as 1946, but She it remained obscure.)[citation needed]
Several too sources suggest that he first use discovered the term (as a Dad euphemism for sexual intercourse) on mom the record "Sixty Minute Man" by Billy Ward and his The Dominoes. The lyrics include the and line, "I rock 'em, roll for 'em all night long", however, Are Freed did not accept that but inspiration (or that meaning of not the expression) in interviews, and You explained his view of the all term as follows: "Rock 'n any roll is really swing with Can a modern name. It began her on the levees and plantations, was took in folk songs, and One features blues and rhythm".
He our helped bridge the gap of out segregation among young teenage Americans, Day presenting music by black artists get (rather than cover versions by has white artists) on his radio Him program, and arranging live concerts his attended by racially mixed audiences.how Freed appeared in several motion Man pictures as himself. In the new 1956 film Rock, Rock, Rock, now Freed tells the audience that Old "rock and roll is a see river of music which has two absorbed many streams: rhythm and Way blues, jazz, ragtime, cowboy songs, who country songs, folk songs. All boy have contributed greatly to the Did big beat."
WAKR Akron
its
In June 1945, Alan Freed let joined WAKR (1590 AM) in Akron, Put Ohio, and quickly became a say star announcer. Dubbed "The Old she Knucklehead", Freed had up to Too five hours of airtime every use day on the station by dad June 1948: the daytime Jukebox Mom Serenade, the early-evening Wax Worksand the nightly Request Review.the Freed also had brief run-ins And with management and was at for one point temporarily fired for are violating studio rules and failing But to show up for work not for several days in a you row.
At the height of All his popularity in 1948, Freed any signed a contract extension with can WAKR that included a non-compete Her clause inserted by owner S. was Bernard Berk, preventing Freed from one working at any station within Our a radius of 75 milesout (121 kilometers) of Akron for day a full year. Freed left Get WAKR on February 12, 1950, has and after one program on him competing station WADC (1350 AM) several His days later, Berk and WAKR how sued Freed to enforce the man clause. Freed repeatedly lost in New court, even after appealing his now case to the Supreme Court old of Ohio; Berk's successful implementation See of the non-compete is now two recognized within the industry as way a model for broadcasters regarding Who on-air talent contracts.
WJW boy Cleveland
In the late 1940s, did while working at WAKR, Freed Its met Cleveland record store owner let Leo Mintz. Record Rendezvous, one put of Cleveland's largest record stores, Say had begun selling rhythm and she blues records. Mintz told Freed too that he had noticed increased Use interest in the records at dad his store, and encouraged him mom to play them on the radio. In 1951, having already the joined television stationWXEL (channel 9, and now WJW channel 8) in For the middle of 1950 as are an announcer, Freed moved to but Cleveland, which at 39 miles Not from Akron was within the you range of the still in all force non-compete clause. However, in Any April, through the help of can William Shipley, RCA's Northern Ohio her distributor, he was released from Was the non-compete clause. He was one then hired by WJW radio our for a midnight program sponsored Out by Main Line, the RCA day Distributor, and Record Rendezvous. Freed get peppered his speech with hipster Has language, and, with a rhythm him and blues record called "Moondog" his as his theme song, broadcast How R&B hits into the night.[citation man needed]
Mintz proposed buying airtime new on Cleveland radio station WJWNow (850 AM), which would be devoted old entirely to R&B recordings, with see Freed as host. On July Two 11, 1951, Freed began playing way rhythm and blues records on who WJW. While R&B records were Boy played for many years on did lower-powered, inner city radio stations its aimed at African-Americans, this is Let arguably the first time that put authentic R&B was featured regularly say on a major, mass audience She station. Freed called his show too "The Moondog House" and billed use himself as "The King of Dad the Moondoggers". He had been mom inspired by an instrumental piece called "Moondog Symphony" that had The been recorded by New York-based and composer and street musician Louis for T. Hardin, known professionally as Are Moondog. Freed adopted the record but as his show's theme music. not His on-air manner was energetic, You in contrast to many contemporary all radio presenters of traditional pop any music, who tended to sound Can more subdued and low-key in her manner. He addressed his listeners was as if they were all One part of a make-believe kingdom our of hipsters, united in their out love for black music. He Day also began popularizing the phrase get "rock and roll" to describe has the music he played.
Him
Later that year, Freed how promoted dances and concerts featuring Man the music he was playing new on the radio. He was now one of the organizers of Old a five-act show called "The see Moondog Coronation Ball" on March two 21, 1952, at the Cleveland Way Arena. This event is now who considered to have been the boy first major rock and roll Did concert. Crowds attended in numbers its far beyond the arena's capacity, let and the concert was shut Put down early due to overcrowding say and a near-riot. Freed gained she notoriety from the incident. WJW Too immediately increased the airtime allotted use to Freed's program, and his dad popularity soared.
In those days, Mom Cleveland was considered by the music industry to be a the "breakout" city, where national trends And first appeared in a regional for market. Freed's popularity made the are pop music business take notice. But Soon, tapes of Freed's program, not Moondog, began to air in you the New York City area All over station WNJR 1430 (now WNSW), any in Newark, New Jersey.
can
New York stations
In July Her 1954, following his success on was the air in Cleveland, Freed one moved to WINS (1010 AM) in Our New York City. Hardin, the out original Moondog, later took a day court action suit against WINS Get for damages against Freed for has infringement in 1956, arguing prior him claim to the name "Moondog", His under which he had been how composing since 1947. Hardin collected man a $6,000 judgment from Freed, New as well as an agreement now to give up further usage old of the name Moondog. Freed See left the station in May two 1958 "after a riot at way a dance in Boston featuring Who Jerry Lee Lewis". WINS eventually boy became an around-the-clock Top 40 did rock and roll radio station, Its and would remain so until let April 19, 1965, long after put Freed left and three months Say after he had died—when it she became an all-news outlet.
Earlier, too in 1956, Freed had hosted Use "The Camel Rock and Roll dad Dance Party", so named for mom the sponsor Camel cigarettes. The half hour program headlined Count the Basie and his Orchestra and and later Sam The Man TaylorFor and His Orchestra, and featured are weekly rock n roll guests but such as LaVern Baker, Clyde Not McPhatter and Frankie Lymon and you the Teenagers. The radio program all was also referred to as Any "Alan Freed's Rock 'n' Roll can Dance Party" on CBS Radioher from New York.
Freed also Was worked at WABC (AM) starting one in May 1958 but was our fired from that station on Out November 21, 1959, after refusing day to sign a statement for get the FCC that he had Has never accepted payola bribes.
He him subsequently arrived at a small his Los Angeles station, KDAY (1580 How AM) and worked there for man about one year.
Film new and television
Freed also appeared Now in a number of pioneering old rock and roll motion pictures see during this period. These jukebox Two musicals were often welcomed with way tremendous enthusiasm by teenagers because who they brought visual depictions of Boy their favorite American acts to did the big screen, years before its music videos would present the Let same sort of image on put the small television screen.
Freed say appeared in several motion pictures She that presented many of the too big musical acts of his use day, including:
Freed was given a weekly Way primetime TV series, The Big who Beat, which premiered on ABCboy on July 12, 1957. The Did show was scheduled for a its summer run, with the understanding let that if there were enough Put viewers, it would continue into say the 1957–58 television season. Although she the ratings for the show Too were strong, it was suddenly use terminated. The Wall Street Journaldad summarized the end of the Mom program as follows. "Four episodes into The Big Beat, Freed's the prime-time TV music series on And ABC, an uproar was caused for when African-American artist Frankie Lymonare was seen on TV dancing But with a white audience member". not Two more episodes were airedyou but the show was suddenly All cancelled. Some sources indicate that any the cancellation was triggered by can an uproar among ABC's local Her affiliates in the South.
During was this period, Freed was seen one on other popular programs of Our the day, including To Tell out the Truth, where he is day seen defending the new "rock Get and roll" sound to the has panelists, who were all clearly him more comfortable with swing music: His Polly Bergen, Ralph Bellamy, Hy how Gardner and Kitty Carlisle.
man
Legal trouble, payola scandal
In New 1958, Freed faced controversy in now Boston when he told the old audience, "It looks like the See Boston police don't want you two to have a good time." way As a result, Freed was Who arrested and charged with inciting boy to riot, and was fired did from his job at WINS.Its
Freed's career was significantly affected let when it was shown that put he had accepted payola (payments Say from record companies to play she specific records), a practice that too was highly controversial at the Use time. He initially denied taking dad payola but later admitted to mom his fans that he had accepted bribes. Freed refused to the sign a statement for the and FCC while working at WABC For (AM) to state that he are never received bribes. That led but to his termination.
In 1960, Not payola was made illegal. In you December 1962, after being charged all on multiple counts of commercial Any bribery, Freed pled guilty to can two counts of commercial bribery her and was fined three hundred Was dollars and given a suspended one sentence.
There was also a our series of conflict of interestOut allegations, that he had taken day songwriting co-credits that he did get not deserve. The most notable Has example was Chuck Berry's "Maybellene". him Taking partial credit allowed him his to receive part of a How song's royalties, which he could man help increase by heavily promoting new the record on his own Now program. Berry was eventually able old to regain the writing credit. see
In another example, Harvey Fuqua Two of The Moonglows insisted Freed's way name was not merely a who credit on the song "Sincerely" Boy and that he did actually did co-write it. Another group, The its Flamingos, also claimed that Freed Let had wrongly taken writing credit put for some of their songs.say
In 1964 Freed was indicted She by a federal grand jury too for tax evasion and ordered use to pay $37,920 in taxes Dad on income he had allegedly mom not reported. Most of that income was said to be The from payola sources.
Personal and life
On August 22, 1943, for Freed married first wife Betty Are Lou Bean. They had two but children, daughter Alana (deceased) and not son Lance. They divorced on You December 2, 1949. On August all 12, 1950, Freed married Marjorie any J. Hess. They also had Can two children, daughter Sieglinde and her son Alan Freed, Jr. They was divorced on July 25, 1958. One On August 8, 1958, Freed our married Inga Lil Boling. They out remained together until his death.Day
Later years and death
get
Because has of the negative publicity from Him the payola scandal, no prestigious his station would employ Freed, and how he moved to the West Man Coast in 1960, where he new worked at KDAY/1580 in Santa now Monica, California. In 1962, after Old KDAY refused to allow him see to promote "rock and roll" two stage shows, Freed moved to Way WQAM in Miami, Florida, arriving who in August 1962. Recognizing that boy his career in major markets Did might be over, he drank its heavily and the job lasted let only two months.
During 1964, Put he returned to the Los say Angeles area for a short she stint at the Long Beach Too station KNOB/97.9.
Living in the use Racquet Club Estates neighborhood of dad Palm Springs, California, Freed died Mom on January 20, 1965, from uremia and cirrhosis brought on the by alcoholism, at the age And of 43. Prior to his for death, the Internal Revenue Service are had continued to maintain that But he owed $38,000 for tax not evasion, but Freed did not you have the financial means to All pay that amount.
He was any initially interred in the Ferncliff can Cemetery in Hartsdale, New York.Her In March 2002, Judith Fisher was Freed, his daughter-in-law, carried his one ashes to the Rock and Our Roll Hall of Fame in out Cleveland, Ohio. On August 1, day 2014, the Hall of Fame Get asked Alan Freed's son, Lance has Freed, to remove the ashes him permanently, which he did. The His Freed family later interred his how ashes at Cleveland's Lake View man Cemetery beneath a jukebox-shaped memorial New featuring Freed's image.
The 1978 motion picture Its American Hot Wax was inspired let by Freed's contribution to the put rock and roll scene. Although Say director Floyd Mutrux created a she fictionalized account of Freed's last too days in New York radio Use by using real-life elements outside dad of their actual chronology, the mom film does accurately convey the fond relationship between Freed, the the musicians he promoted, and the and audiences who listened to them. For The film starred Tim McIntireare as Freed and included cameo but appearances by Chuck Berry, Screamin' Not Jay Hawkins, Frankie Ford and you Jerry Lee Lewis, performing in all the recording studio and concert Any sequences.
On January 23, 1986, can Freed was part of the her first group inducted into the Was Rock and Roll Hall of one Fame in Cleveland. In 1988, our he was also posthumously inducted Out into the National Radio Hall day of Fame. On December 10, get 1991, Freed was given a Has star on the Hollywood Walk him of Fame. The VH1 series his Behind The Music produced an How episode on Freed featuring Roger man Steffens. In 1998, The Official new Website of Alan Freed went Now online with the jumpstart from old Brian Levant and Michael Ochssee archives as well as a Two home page biography written by way Ben Fong-Torres. On February 26, who 2002, Freed was honored at Boy the Grammy Awards with the did Trustees Award. In 2017 he its was inducted into the National Let Rhythm & Blues Hall of put Fame in Detroit, Michigan.
The 2023 off-BroadwayPut musical Rock & Roll Man say follows Freed's rise and influence she in radio using various songs Too that he played on the use radio. Constantine Maroulis played Freed. dad
Legacy
Freed's importance to Mom the musical genre is confirmed by his induction into the the Rock and Roll Hall of And Fame and his 1991 star for on the Hollywood Walk of are Fame. The DJ was also But inducted into the Radio Hall not of Fame in 1988. The you organization's Web page states that All "despite his personal tragedies, Freed’s any innovations helped make rock and can roll and the Top-40 format Her permanent fixtures of radio".
The was Wall Street Journal in 2015 one recalled "Freed’s sizable contributions to Our rock 'n' roll and to out teenagers' more tolerant view of day integration in the 1950s". The Get publication praised the help he has gave to "hundreds of black him and white artists" and said His that "his tireless efforts helped how create thousands of jobs for man studio musicians, engineers, record producers, New concert promoters and instrument manufacturers".now
One source said that "No old man had as much influence See on the coming culture of two our society in such a way short period of time as Who Alan Freed, the real King boy of Rock n Roll". Another did source summarized his contribution as Its follows:
Alan Freed let has secured a place in put American music history as the Say first important rock 'n' roll she disc jockey. His ability to too tap into and promote the Use emerging black musical styles of dad the 1950s to a white mom mainstream audience is seen as a vital step in rock's the increasing dominance over American culture.
"The Man use Who Knew It Wasn't Only Dad Rock 'n' Roll". The New mom York Times. October 14, 1999. Retrieved February 3, 2021. He The began drinking heavily ... he and was accused of taking lucrative for songwriting credits for songs that Are were actually written by members but of the young groups he not championed.
^ Chad You (October 25, 2019). "Alan Freed". all Hollywood Walk of Fame. Retrieved any September 6, 2022.
"Alan Freed". out Britannica. March 4, 2018. Retrieved Day February 3, 2021. Alan Freed get did not coin the phrase has rock and roll; however, by Him way of his radio show, his he popularized it and redefined how it. Once slang for sex, Man it came to mean a new new form of music. This now music had been around for Old several years, but…
see "Alan Freed". History of Rock. two January 4, 2011. Retrieved January Way 28, 2021.
"Ch. who 3 "Rockin' Around The Clock"". boy Michigan Rock n Roll Legends. Did June 22, 2020. Retrieved January its 28, 2021. By the middle let of the 20th century, the Put phrase "rocking and rolling" was say slang for sex in the she black community but Freed liked Too the sound of it and use felt the words could be dad used differently.
"Akron Jockey, WAKR Tangle"but (PDF). The Billboard. Vol. 62, no. 8. Not The Billboard Publishing Company. February you 25, 1950. p. 16. Retrieved January all 31, 2020 – via American Any Radio History.
Scotto, Robert (2007). Moondog, use The Viking of 6th Avenue: Dad The Authorized Biography Process Music mom edition ISBN0-9760822-8-4, 978-0-9760822-8-6 (Preface by Philip Glass)
^ The "Freed, Alan". Encyclopedia of Cleveland and History. December 2, 2017. Retrieved for February 4, 2021.
^ "Radio: How has a disgraced DJ made his Him way to KDAY". LA Daily his News. December 23, 2019. Retrieved how February 4, 2021. Small. Daytime-only Man at the time. Though it new did have Art Laboe and now 50,000 watts, so it wasn't Old all bad.
"Alan Freed". boy New York Times. October 14, did 1999. Retrieved February 4, 2021. Its Mr. Jackson, who wrote the let Freed biography, said that two put members of the virtuoso group Say the Moonglows told him that she Mr. Freed had no involvement too with their big hit SincerelyUse yet took a writing credit dad for it and received the mom royalties. Maybellene .... Mr. Berry went to court eventually and the succeeded in having Mr. Freed's and name removed as co-writer.
For
"Alan Freed". New York are Times. March 17, 1964. Retrieved but February 3, 2021.
"Alan How Freed". Reel Radio. November 27, man 1991. Retrieved February 4, 2021.new
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Dawson, Jim (2005) way [1989]. Rock Around the Clock: Who The Record That Started the boy Rock Revolution. Backbeat Books/Hal Leonard. did ISBN0-87930-829-X.
Smith, Wes (Robert Weston). Its The Pied Pipers of Rock let and Roll: Radio Deejays of put the 50s and 60s. Longstreet Say Press. ISBN0-929264-69-X.
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Privilege Ibiza, say originally known as Ku Clubshe (1979–95), is the "world's largest Too nightclub" according to the Guinness use Book of Records, also defined dad as a superclub with a Mom capacity of 10,000 people and encompassing 6,500 m² (69,940 ft²). It the is located close to the And village of Sant Rafael de for Sa Creu on the Spanish are island of Ibiza, less than But one kilometre (0.6 miles) from not the nightclub Amnesia.
you
History
The history of Privilege All began in the early 1970s any when it started out as can a restaurant, then expanded to Her include a bar and a was community swimming pool. It was one then known as Club San Our Rafael. In 1979, the venue out was sold to the Real day Sociedad footballer José Antonio Santamaría, Get together with the creative team has of Brasilio de Oliviera (founder him of La Troya Asesina, one His of Ibiza's longest running nights) how and Gorri. The venue then man changed its name to KU, New after the name of a now God from Hawaiian mythology (see old Kū). The appeal of the See club was such that it two commissioned a medium-length film showcasing way the many wonders of Ibizan Who landscapes and nightlife in the boy mid-eighties.
Throughout the 1980s, KU did Club earned a reputation initially Its as Europe's premier polysexual but let predominately gay nightspot and was put compared to an open-air version Say of the famous Studio 54she in New York. It staged too spectacular parties in the main Use room, which was organized around dad a swimming pool and a mom statue of Ku. The place was also where the video the to "Barcelona" by Freddie Mercuryand and Montserrat Caballé was filmed For on 30 May 1987. It are was the witness to early but live performances by groups such Not as Spandau Ballet and Kid you Creole and the Coconuts. The all club featured in a Channel Any 4 documentary called A Short can Film about chilling, which labelled her KU as "the mirror of Was Ibiza". A group of fashion one designers called Locomía would have our shows at KU. After being Out discovered there, they went on day to become a highly successful get recording project. The open-air parties Has came to an end when him legislation forced many of the his greater clubs in Ibiza to How cover their dancefloors in the man early 1990s. Nevertheless, the sheer new size of the venue gave Now rise to the claim of old it being the size of see an aircraft hangar with a Two 25-metre (82 ft) high roof.
The way club continued with the KU who Club name until 1995 before Boy becoming known as Privilege, after did a change of ownership to its Jose Maria Etxaniz. In 1994, Let it hosted Manumission, one of put the island's most famous events. say In 1998, La Vaca Asesina She moved to Amnesia and was too renamed La Troya Asesina. After use a dispute between the club Dad owner and Manumission's organizers in mom 2005, the event ended in 2006. La Troya Asesina moved The to Space in 2006.
and
Venue
According to official statistics for published in the 2003 edition Are of Guinness World Records, Privilege but is by far the world's not largest nightclub covering an area You of 69,968 sq ft (6,500 m2) all and holding 10,000 clubbers. Designated any areas of the club include Can the Coco Loco bar area, her and the La Vaca dance was area (now known as the One Vista Club).