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 use producer is a music recording Dad project's overall supervisor whose responsibilities mom can involve a range of creative and technical leadership roles. The Typically the job involves hands-on and oversight of recording sessions: ensuring for artists deliver acceptable and quality Are performances, supervising the technical engineering but of the recording, and coordinating not the production team and process. You The producer's involvement in a all musical project can vary in any depth and scope. Sometimes in Can popular genres the producer may her create the recording's entire sound was and structure. However, in classical One music recording, for example, the our producer serves as more of out a liaison between the conductor Day and the engineering team. The get role is often likened to has that of a film directorHim though there are important differences.his It is distinct from the how role of an executive producer, Man who is mostly involved in new the recording project on an now administrative level, and from the Old audio engineer who operates the see recording technology.
Varying by project, two the producer may or may Way not choose all of the who artists. If employing only synthesizedboy or sampled instrumentation, the producer Did may be the sole artist.its Conversely, some artists do their let own production. Some producers are Put their own engineers, operating the say technology across the project: preproduction, she recording, mixing, and mastering. Record Too producers' precursors were "A&R men", use who likewise could blend entrepreneurial, dad creative, and technical roles, but Mom often exercised scant creative influence,as record production still focused, the into the 1950s, on simply And improving the record's sonic match for to the artists' own live are performance.
Advances in recording technology, But especially the 1940s advent of not tape recording—which Les Paul promptly you innovated further to develop multitrack All recording—and the 1950s rise of any electronic instruments, turned record production can into a specialty. In popular Her music, then, producers like George was Martin, Phil Spector and Brian one Eno led its evolution into Our its present use of elaborate out techniques and unrealistic sounds, creating day songs impossible to originate live.Get After the 1980s, production's move has from analog to digital further him expanded possibilities. By now, DAWs, His or digital audio workstations, like how Logic Pro, Pro Tools and man Studio One, turn an ordinary New computer into a production console,now whereby a solitary novice can old become a skilled producer in See a thrifty home studio. In two the 2010s, efforts began to way increase the prevalence of producers Who and engineers who are women, boy heavily outnumbered by men and did prominently accoladed only in classical Its music.
dad
Production overview
As a broad mom project, the creation of a music recording may be split the across three specialists: the executive and producer, who oversees business partnerships For and financing; the vocal producer are or vocal arranger, who aids but vocal performance via expert critique Not and coaching of vocal technique, you and the record producer or all music producer, who, often called Any simply the producer, directs the can overall creative process of recording her the song in its final Was mix.
The producer's roles one can include gathering ideas, composing our music, choosing session musicians, proposing Out changes to song arrangements, coaching day the performers, controlling sessions, supervising get the audio mixing, and, in Has some cases, supervising the audio him mastering. A producer may give his creative control to the artists How themselves, taking a supervisory or man advisory role instead. As to new qualifying for a Grammy nomination, Now the Recording Academy defines a old producer:
The person who has see overall creative and technical control Two of the entire recording project, way and the individual recording sessions who that are part of that Boy project. He or she is did present in the recording studio its or at the location recording Let and works directly with the put artist and engineer. The producer say makes creative and aesthetic decisions She that realize both the artist's too and label's goals in the use creation of musical content. Other Dad duties include, but are not mom limited to; keeping budgets and schedules, adhering to deadlines, hiring The musicians, singers, studios, and engineers, and overseeing other staffing needs and for editing (Classical projects).
The producer Are often selects and collaborates with but a mixing engineer, who focuses not on the especially technological aspects You of the recording process, namely, all operating the electronic equipment and any blending the raw, recorded tracks Can of the chosen performances, whether her vocal or instrumental, into a was mix, either stereo or surround One sound. Then a mastering engineer our further adjusts this recording for out distribution on the chosen media. Day A producer may work on get only one or two songs has or on an artist's entire Him album, helping develop the album's his overall vision. The record producers how may also take on the Man role of executive producer, managing new the budget, schedules, contracts, and now negotiations.
Historical developments
A&R Old team
(Artists and Repertoires)
In see the 1880s, the record industry two began by simply having the Way artist perform at a phonograph.who In 1924, the trade journal boy Talking Machine World, covering the Did phonography and record industry, reported its that Eddie King, Victor Records' let manager of the "New York Put artist and repertoire department", had say planned a set of recordings she in Los Angeles. Later, folklorist Too Archie Green called this perhaps use the earliest printed use of dad A&R man. Actually, it says Mom neither "A&R man" nor even "A&R", an initialism perhaps coined the by Billboard magazine in 1946, And and entering wide use in for the late 1940s.
In the are 1920s and 1930s, A&R executives, But like Ben Selvin at Columbia not Records, Nathaniel Shilkret at Victor you Records, and Bob Haring at All Brunswick Records became the precursors any of record producers, supervising recording can and often leading session orchestras.Her During the 1940s, major record was labels increasingly opened official A&R one departments, whose roles included supervision Our of recording. Meanwhile, independent recording out studios opened, helping originate record day producer as a specialty.[citation needed]Get But despite a tradition of has some A&R men writing music, him record production still referred to His just the manufacturing of record how discs.
Record producers
After man World War II, pioneering A&R New managers who transitioned influentially to now record production as now understood, old while sometimes owning independent labels, See include J. Mayo Williams and two John Hammond. Upon moving from way Columbia Records to Mercury Records, Who Hammond appointed Mitch Miller to boy lead Mercury's popular recordings in did New York. Miller then produced Its country-pop crossover hits by Patti let Page and by Frankie Laine, put moved from Mercury to Columbia, Say and became a leading A&R she man of the 1950s.
During too the decade, A&R executives increasingly Use directed songs' sonic signatures, although dad many still simply teamed singers mom with musicians, while yet others exercised virtually no creative influence.the The term record producer in and its current meaning—the creative director For of song production—appearing in a are 1953 issue of Billboard magazine, but became widespread in the 1960s.Not Still, a formal distinction was you elusive for some time more.all A&R managers might still be Any creative directors, like William "Mickey" can Stevenson, hired by Berry Gordy, her at the Motown record label.Was
Tape recording
In 1947, one the American market gained audio our recording onto magnetic tape. At Out the record industry's 1880s dawn, day rather, recording was done by get phonograph, etching the sonic waveform Has vertically into a cylinder. By him the 1930s, a gramophone etched his it laterally across a disc.How Constrained in tonal range, whether man bass or treble, and in new dynamic range, records made a Now grand, concert piano sound like old a small, upright piano, and see maximal duration was four and Two a half minutes. Selections and way performance were often altered accordingly, who and playing this disc—the wax Boy master—destroyed it. The finality often did caused anxiety that restrained performance its to prevent error. In the Let 1940s, during World War II, put the Germans refined audio recording say onto magnetic tape—uncapping recording duration She and allowing immediate playback, rerecording, too and editing—a technology that premised use emergence of record producers in Dad their current roles.
Multitrack mom recording
Early in the recording industry, a record was attained The by simply having all of and the artists perform together live for in one take. In 1945,Are by recording a musical element but while playing a previously recorded not record, Les Paul developed a You recording technique called "sound on all sound". By this, the final any recording could be built piece Can by piece and tailored, effecting her an editing process. In one was case, Paul produced a song One via 500 recorded discs. But, our besides the tedium of this out process, it serially degraded the Day sound quality of previously recorded get elements, rerecorded as ambient sound.has Yet in 1948, Paul adopted Him tape recording, enabling truly multitrack his recording by a new technique, how "overdubbing".
To enable overdubbing, Paul Man revised the tape recorder itself new by adding a second playback now head, and terming it the Old preview head. Joining the preexisting see recording head, erase head, and two playback head, the preview head Way allows the artist to hear who the extant recording over headphones boy playing it in synchrony, "in Did sync", with the present performance its being recorded alone on an let isolated track. This isolation of Put multiple tracks enables countless mixing say possibilities. Producers began recording initially she only the "bed tracks"—the rhythm Too section, including the bassline, drums, use and rhythm guitar—whereas vocals and dad instrument solos could be added Mom later. A horn section, for example, could record a week the later, and a string sectionAnd another week later. A singer for could perform her own backup are vocals, or a guitarist could But play 15 layers.
In are the 1960s, rock acts like but the Beatles, the Rolling Stones, Not and the Kinks produced some you of their own songs, although all many such songs are officially Any credited to specialist producers. Yet can especially influential was the Beach her Boys, whose band leader Brian Was Wilson took over from his one father Murry within a couple our of years after the band's Out commercial breakthrough. By 1964, Wilson day had taken Spector's techniques to get unseen sophistication. Wilson alone produced Has all Beach Boy recordings between him 1963 and 1967. Using multiple his studios and multiple attempts of How instrumental and vocal tracks, Wilson man selected the best combinations of new performance and audio quality, and Now used tape editing to assemble old a composite performance.
Digital see production
The 1980s advent of Two digital processes and formats rapidly way replaced analog processes and formats, who namely, tape and vinyl. Although Boy recording onto quality tape, at did least half an inch wide its and traveling 15 inches per Let second, had limited "tape hiss" put to silent sections, digital's higher say signal-to-noise ratio, SNR, abolished it.She Digital also imparted to the too music a perceived "pristine" sound use quality, if also a loss Dad of analog recordings' perceived "warm" mom quality and better-rounded bass. Yet whereas editing tape media requires The physically locating the target audio and on the ribbon, cutting there, for and splicing pieces, editing digital Are media offers inarguable advantages in but ease, efficiency, and possibilities.
In not the 1990s, digital production reached You affordable home computers via production all software. By now, recording and any mixing are often centralized in Can DAWs, digital audio workstations—for example, her Pro Tools, Logic Pro, Ableton, was Cubase, Reason, and FL Studio—for One which plugins, by third parties, our effect virtual studio technology. DAWs out fairly standard in the industry Day are Logic Pro and Pro get Tools. Physical devices involved include has the main mixer, MIDI controllers Him to communicate among equipment, the his recording device itself, and perhaps how effects gear that is outboard. Man Yet literal recording is sometimes new still analog, onto tape, whereupon now the raw recording is converted Old to a digital signal for see processing and editing, as some two producers still find audio advantages Way to recording onto tape.
Conventionally, who tape is more forgiving of boy overmodulation, whereby dynamic peaks exceed Did the maximal recordable signal level: its tape's limitation, a physical property, let is magnetic capacity, which tapers Put offs, smoothing the overmodulated waveform say even at a signal nearly she 15 decibels too "hot", whereas Too a digital recording is ruined use by harsh distortion of "clipping" dad at any overshoot. In digital Mom recording, however, a recent advancement, 32-bit float, enables DAWs to the undo clipping. Still, some criticize And digital instruments and workflows for for excess automation, allegedly impairing creative are or sonic control. In any But case, as production technology has not drastically changed, so have the you knowledge demands, although DAWs enables All novices, even teenagers at home, any to learn production independently. Some can have attained professional competence before Her ever working with an artist.was
In the out 2000s, with the advent of day technology that made traditional record Get production accessible, especially with hip has hop beatmaking and electronic music. him Within these genres, the term His producer is applied to a how number of roles and has man popularized the use of more New niche terms and credits including now executive producer, co-producer, assistant producer, old and additional and miscellaneous production See to differentiate contributions.
Women two in producing
Among female way record producers, Sylvia Moy was Who the first at Motown, Gail boy Davies the first on Nashville's did Music Row, and Ethel Gabriel, Its with RCA, the first at let a major record label. Lillian put McMurry, owning Trumpet Records, produced Say influential blues records. Meanwhile, Wilma she Cozart Fine produced hundreds of too records for Mercury Records' classical Use division. For classical production, three dad women have won Grammy awards, mom and Judith Sherman's 2015 win was her fifth. Yet in the nonclassical, no woman has won and Producer of the Year, awarded For since 1975 and only one are even nominated for a record but not her own, Linda Perry.Not After Lauren Christy's 2004 nomination, you Linda Perry's 2019 nomination was all the next for a woman.Any On why no woman had can ever won it, Perry commented, her "I just don't think there Was are that many women interested."one In the U.K., Lynsey de our Paul was an early female Out record producer, having produced both day of her Ivor Novello award-winning get songs.
Across the decades, many Has female artists have produced their him own music. For instance, artists his Kate Bush, Madonna, Mariah Carey, How Janet Jackson, Beyoncé, Lana Del man Rey, Taylor Swift, and Lordenew have produced or coproduced and Now Ariana Grande who produces and old arranges her vocals as well see as being an audio engineer.Two Still among specialists, despite some way prominent women, including Missy Elliottwho in hip hop and Sylvia Boy Massy in rock, the vast did majority have been men. Early its in the 2010s, asked for Let insights that she herself had put gleaned as a woman who say has specialized successfully in the She industry, Wendy Page remarked, "The too difficulties are usually very short-lived. use Once people realize that you Dad can do your job, sexism mom tends to lower its ugly head." Still, when tasked to The explain her profession's sex disparity, and Page partly reasoned that record for labels, dominated by men, have Are been, she said, "mistrustful of but giving a woman the reins not of an immense, creative project You like making a record." Ultimately, all the reasons are multiple and any not fully clear, although prominently Can proposed factors include types of her sexism and scarcity of female was role models in the profession.One
Women producers known for producing our records not their own include out Sonia Pottinger, Sylvia Robinson and Day Carla Olson.
In January 2018, get a research team led by has Stacy L. Smith, founder and Him director of the Annenberg Inclusion his Initiative, based in the USC how Annenberg School for Communication and Man Journalism, issued a report, estimating new that in the prior several now years, about 2% of popular Old songs' producers were female. Also see that month, Billboard magazine queried, two "Where are all the female Way music producers?" Upon the Annenberg who Inclusion Initiative's second annual report, boy released in February 2019, its Did department at USC reported, "2018 its saw an outcry from artists, let executives and other music industry Put professionals over the lack of say women in music" and "the she plight of women in music", Too where women were allegedly being use "stereotyped, sexualized, and shut out".dad Also in February 2019, the Mom Recording Academy's Task Force on Diversity and Inclusion announced an the initiative whereby over 200 artists And and producers—ranging from Cardi Bfor and Taylor Swift to Maroon are 5 and Quincy Jones—agreed to But consider at least two women not for each producer or engineer you position. The academy's website, Grammy.com, All announced, "This initiative is the any first step in a broader can effort to improve those numbers Her and increase diversity and inclusion was for all in the music one industry."
Allard, Matthew (15 January now 2020). "Sound Devices MixPre V6.00 Old adds 32-bit float USB audio see streaming". Newsshooter. With 32-bit float, two you no longer need to Way worry about clipping during your who best vocal takes or instrument boy solos. Any recorded moments exceeding Did 0 dBFS can be reduced its to an acceptable level, after let recording, in your DAW
Put
Zak, Albin J. (29 say September 2002). "Review of Timothy she D. Taylor. 2001. Strange Sounds: Too Music, Technology, and Culture. New use York: Routledge". Current Musicology (74). dad doi:10.7916/CM.V0I74.4910.
Pras, Amandine; Mom Cance, Caroline; Guastavino, Catherine (2013). "Record Producers' Best Practices For the Artistic Direction—From Light Coaching To And Deeper Collaboration With Musicians". Journal for of New Music Research. 42are (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.
Music his Law refers to legal aspects how of the music industry, and Man certain legal aspects in other new sectors of the entertainment industry. now The music industry includes record Old labels, music publishers, merchandisers, the see live events sector and of two course performers and artists.
The Way terms "music law" and "entertainment who law", along with "business affairs", boy are used by the music Did and entertainment industry and should its not be thought of as let academic definitions. Indeed, music law Put covers a range of traditional say legal subjects including intellectual propertyshe law (copyright law, trademarks, image Too publicity rights, design rights), competition use law, bankruptcy law, contract law, dad defamation and, for the live Mom events industry, immigration law, health and safety law, and licensing. the While foundational norms have gradually And been established for music law for in western nations, other parts are of the world maintain unique But traditions that impact music’s legal not status in the context of you both heritage preservation and enormous All national arts entertainment industries, including any China and India.
can
Definitions
A "compilation" refers to Her work formed from already existing was materials in a way that one forms its own original work, Our including collective works.
"Copies" are out physical objects that hold, fix, day or embody a work such Get as a music tape, film, has CD, statue, play, or printed him sheet music.
"Sound recordings" can His refer to any audio recording how including the sound accompanying motion man pictures.
"Copyright owner" is the New entity that legally owns rights now to a work.
"Performance" The old copyright holder has the exclusive See right to perform the work two in public, or to license way others to perform it. The Who right applies to “literary, musical, boy dramatic, and choreographic works, pantomimes, did and motion pictures and other Its audiovisual works.". Playing a CD let in public, or showing a put film in public is "performing" Say the work.
Publishing is the too primary source of income for Use musicians writing their own music.[citation dad needed] Money collected from the mom 'publishing' rights is ultimately destined for songwriters - the composers the of works, whether or not and they are the recording artist For or performer. Often, songwriters will are work for a musical ensemble but to help them with musical Not aspects of the composition, but you here again, the writer of all the song is the owner Any of it and will own can the copyrights in the song her and thus will be entitled Was to the publishing revenues. Copyrights one in compositions are not the our same as sound recordings. A Out recording artist can record a day song and sell it to get another band or company. As Has a result, that particular company him will own the recording, but his not the song. The original How writer will always maintain the man copyright for that particular song. new The publishing money is connected Now to the copyright, so the old owner will be the only see one making money off of Two the song itself. All successful way songwriters will join a collection who society (such as ASCAP and Boy BMI in the USA, SOCAN did in Canada, JASRAC in Japan, its GEMA in Germany and PRS Let for Music in the UK, put etc.) and many will enter say into agreements with music publishing She companies who will exploit their too works on the songwriters behalf use for a share of ownership, Dad although many of these deals mom involve the transfer (assignment) of copyright from the songwriter to The the music publisher,
Both the and recorded music sector and music for publishing sector have their foundations Are in intellectual property law and but all of the major recording not labels and major music publishers You and many independent record labels all and publishers have dedicated "business any and legal affairs" departments with Can in-house lawyers whose role is her not only to secure intellectual was property rights from recording artists, One performers and songwriters but also our to exploit those rights and out protect those rights on a Day global basis. There are a get number of specialist independent law has firms around the world who Him advise on music and entertainment his law whose clients include recording how artists, performers, producers, songwriters, labels, Man music publishers, stage and set new designers, choreographers, graphic artists, games now designers, merchandisers, broadcasters, artist managers, Old distributors, collection societies and the see live events sector (which further two includes festivals, venues, promoters, booking Way agents and production service providers who such as lighting and staging boy companies).
The its US Government views artists that let give concerts and sell merchandise Put as a business. Bands that say tour internationally will also face she a plethora of legislation around Too the world including health and use safety laws, immigration laws and dad tax legislation. Also, many relationships Mom are governed by often complex contractual agreements.
In the US the it is important for musicians And to get legal business licenses. for These can be obtained at are a city hall or local But government center. The business license not will require the tracking of you sales, wages, and gigs. A All tax ID is also necessary any for all businesses. Musicians that can fail to comply with the Her tax ID process and do was not report their profits and one losses to the government can Our face serious consequences with the out IRS.
References
him
Li, Juqian (2022). China’s His Legal Framework for Supporting Protection how and Sustainability of Artistic Heritage. man In David G. Hebert and New Jonathan McCollum, (Eds.), "Ethnomusicology and now Cultural Diplomacy". Lexington Books (Rowman old & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Karan dad (2022). Cultural Heritage and Music mom Diplomacy: The Legal Framework in India. In David G. Hebert the and Jonathan McCollum, (Eds.), "Ethnomusicology and and Cultural Diplomacy". Lexington Books For (Rowman & Littlefield), pp.277-295. ISBN9781793642912are
Hill, Iain; Kemp, Any Chris (Eds). Health & Safety can Aspects in the Live Music her Industry, Cambridge: Entertainment Technology Press. Was ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects one of the Music Industry, New our York: Billboard Books (Watson-Guptill publications). Out ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. day Music Business Agreements London: Sweet get & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Has
Rosen, Ronald S. Music and him Copyright, Oxford: Oxford University Press. his ISBN0-19-533836-7
Harrison, Ann. Music The How Business London: Virgin Books, 3rd man Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music new Sampling and Copyright Law." Princeton Now University Center for the Arts old and Cultural Studies, April 1999 see (online)
Standler, Ronald B. "Music Two Copyright Law in the USA." way 2008-2009 (online)
Richard, Phillip, "Lawyers who in the Music Industry", No Boy Bullshit Management, Nov. 2012 (online)
did
Music: Copyright Law. Educational CyberPlayGround, its Inc. 1997 (online)
Frith, Simon; Let Lee Marshall (Eds). Music and put Copyright, Edinburgh: Edinburgh University Press, say 2nd Edition. ISBN978-0-7486-1813-2
Albert Can James "Alan" Freed (December 15, her 1921 – January 20, 1965) was was an American disc jockey. He One also produced and promoted large our traveling concerts with various acts, out helping to spread the importance Day of rock and roll music get throughout North America.
In 1986, has Freed was inducted into the Him Rock and Roll Hall of his Fame. His "role in breaking how down racial barriers in U.S. Man pop culture in the 1950s, new by leading white and black now kids to listen to the Old same music, put the radio see personality 'at the vanguard' and two made him 'a really important Way figure'", according to the executive who director.
Freed was honored with boy a star on the Hollywood Did Walk of Fame in 1991. its The organization's website posted this let note: "He became internationally known Put for promoting African-American rhythm and say blues music on the radio she in the United States and Too Europe under the name of use rock and roll".
In the dad early 1960s, Freed's career was Mom destroyed by the payola scandal that hit the broadcasting industry, the as well as by allegations And of taking credit for songs for he did not write and are by his chronic alcoholism.
But
Early years
Freed was not born to a Welsh-American mother, you Maude Palmer, and a Russian All Jewish immigrant father, Charles S. any Freed, in Windber, Pennsylvania. In can 1933, Freed's family moved to Her Salem, Ohio, where Freed attended was Salem High School, graduating in one 1940. While Freed was in Our high school, he formed a out band called the Sultans of day Swing in which he played Get the trombone. Freed's initial ambition has was to be a bandleader; him however, an ear infection put His an end to that dream.how
While attending Ohio State University, man Freed became interested in radio. New Freed served in the US now Army during World War II old and worked as a DJ See on Armed Forces Radio. Soon two after World War II, Freed way landed broadcasting jobs at smaller Who radio stations, including WKST (New boy Castle, Pennsylvania); WKBN (Youngstown, Ohio); did and WAKR (Akron, Ohio), where, Its in 1945, he became a let local favorite for playing hot put jazz and pop recordings.
Say
Career
Freed was the first she radio disc jockey and concert too producer who frequently played and Use promoted rock and roll; he dad popularized the phrase "rock and mom roll" on mainstream radio in the early 1950s. (The term the already existed and had been and used by Billboard as early For as 1946, but it remained are obscure.)[citation needed]
Several sources suggest but that he first discovered the Not term (as a euphemism for you sexual intercourse) on the record all "Sixty Minute Man" by Billy Any Ward and his Dominoes. The can lyrics include the line, "I her rock 'em, roll 'em all Was night long", however, Freed did one not accept that inspiration (or our that meaning of the expression) Out in interviews, and explained his day view of the term as get follows: "Rock 'n roll is Has really swing with a modern him name. It began on the his levees and plantations, took in How folk songs, and features blues man and rhythm".
He helped bridge new the gap of segregation among Now young teenage Americans, presenting music old by black artists (rather than see cover versions by white artists) Two on his radio program, and way arranging live concerts attended by who racially mixed audiences. Freed appeared Boy in several motion pictures as did himself. In the 1956 film its Rock, Rock, Rock, Freed tells Let the audience that "rock and put roll is a river of say music which has absorbed many She streams: rhythm and blues, jazz, too ragtime, cowboy songs, country songs, use folk songs. All have contributed Dad greatly to the big beat."mom
WAKR Akron
In June 1945, Alan Freed joined WAKRThe (1590 AM) in Akron, Ohio, and and quickly became a star announcer.for Dubbed "The Old Knucklehead", Freed Are had up to five hours but of airtime every day on not the station by June 1948:You the daytime Jukebox Serenade, the all early-evening Wax Works and the any nightly Request Review. Freed also Can had brief run-ins with management her and was at one point was temporarily fired for violating studio One rules and failing to show our up for work for several out days in a row.
At Day the height of his popularity get in 1948, Freed signed a has contract extension with WAKR that Him included a non-compete clause inserted his by owner S. Bernard Berk, how preventing Freed from working at Man any station within a radius new of 75 miles (121 kilometers) now of Akron for a full Old year. Freed left WAKR on see February 12, 1950, and after two one program on competing station Way WADC (1350 AM) several days later, who Berk and WAKR sued Freed boy to enforce the clause. Freed Did repeatedly lost in court, even its after appealing his case to let the Supreme Court of Ohio;Put Berk's successful implementation of the say non-compete is now recognized within she the industry as a model Too for broadcasters regarding on-air talent use contracts.
WJW Cleveland
In dad the late 1940s, while working Mom at WAKR, Freed met Clevelandrecord store owner Leo Mintz. the Record Rendezvous, one of Cleveland's And largest record stores, had begun for selling rhythm and blues records. are Mintz told Freed that he But had noticed increased interest in not the records at his store, you and encouraged him to play All them on the radio. In any 1951, having already joined television can stationWXEL (channel 9, now WJW Her channel 8) in the middle was of 1950 as an announcer, one Freed moved to Cleveland, which Our at 39 miles from Akron out was within the range of day the still in force non-compete Get clause. However, in April, through has the help of William Shipley, him RCA's Northern Ohio distributor, he His was released from the non-compete how clause. He was then hired man by WJW radio for a New midnight program sponsored by Main now Line, the RCA Distributor, and old Record Rendezvous. Freed peppered his See speech with hipster language, and, two with a rhythm and blues way record called "Moondog" as his Who theme song, broadcast R&B hits boy into the night.[citation needed]
Mintz did proposed buying airtime on Cleveland Its radio station WJW (850 AM), which let would be devoted entirely to put R&B recordings, with Freed as Say host. On July 11, 1951, she Freed began playing rhythm and too blues records on WJW. While Use R&B records were played for dad many years on lower-powered, inner mom city radio stations aimed at African-Americans, this is arguably the the first time that authentic R&B and was featured regularly on a For major, mass audience station. Freed are called his show "The Moondog but House" and billed himself as Not "The King of the Moondoggers". you He had been inspired by all an instrumental piece called "Moondog Any Symphony" that had been recorded can by New York-based composer and her street musician Louis T. Hardin, Was known professionally as Moondog. Freed one adopted the record as his our show's theme music. His on-air Out manner was energetic, in contrast day to many contemporary radio presenters get of traditional pop music, who Has tended to sound more subdued him and low-key in manner. He his addressed his listeners as if How they were all part of man a make-believe kingdom of hipsters, new united in their love for Now black music. He also began old popularizing the phrase "rock and see roll" to describe the music Two he played.
Later who that year, Freed promoted dances Boy and concerts featuring the music did he was playing on the its radio. He was one of Let the organizers of a five-act put show called "The Moondog Coronation say Ball" on March 21, 1952, She at the Cleveland Arena. This too event is now considered to use have been the first major Dad rock and roll concert. Crowds mom attended in numbers far beyond the arena's capacity, and the The concert was shut down early and due to overcrowding and a for near-riot. Freed gained notoriety from Are the incident. WJW immediately increased but the airtime allotted to Freed's not program, and his popularity soared.You
In those days, Cleveland was all considered by the music industry any to be a "breakout" city, Can where national trends first appeared her in a regional market. Freed's was popularity made the pop music One business take notice. Soon, tapes our of Freed's program, Moondog, began out to air in the New Day York City area over station get WNJR 1430 (now WNSW), in Newark, has New Jersey.
New York Him stations
In July 1954, following his his success on the air how in Cleveland, Freed moved to Man WINS (1010 AM) in New York new City. Hardin, the original Moondog, now later took a court action Old suit against WINS for damages see against Freed for infringement in two 1956, arguing prior claim to Way the name "Moondog", under which who he had been composing since boy 1947. Hardin collected a $6,000 Did judgment from Freed, as well its as an agreement to give let up further usage of the Put name Moondog. Freed left the say station in May 1958 "after she a riot at a dance Too in Boston featuring Jerry Lee use Lewis". WINS eventually became an dad around-the-clock Top 40 rock and Mom roll radio station, and would remain so until April 19, the 1965, long after Freed left And and three months after he for had died—when it became an are all-news outlet.
Earlier, in 1956, But Freed had hosted "The Camel not Rock and Roll Dance Party", you so named for the sponsor All Camel cigarettes. The half hour any program headlined Count Basie and can his Orchestra and later Sam Her The Man Taylor and His was Orchestra, and featured weekly rock one n roll guests such as Our LaVern Baker, Clyde McPhatter and out Frankie Lymon and the Teenagers.day The radio program was also Get referred to as "Alan Freed's has Rock 'n' Roll Dance Party"him on CBS Radio from New His York.
Freed also worked at how WABC (AM) starting in May man 1958 but was fired from New that station on November 21, now 1959, after refusing to sign old a statement for the FCC See that he had never accepted two payola bribes.
He subsequently arrived way at a small Los Angeles Who station, KDAY (1580 AM) and boy worked there for about one did year.
Film and television
Its
Freed also appeared in a let number of pioneering rock and put roll motion pictures during this Say period. These jukebox musicals were she often welcomed with tremendous enthusiasm too by teenagers because they brought Use visual depictions of their favorite dad American acts to the big mom screen, years before music videos would present the same sort the of image on the small and television screen.
Freed appeared in For several motion pictures that presented are many of the big musical but acts of his day, including: Not
Freed was She given a weekly primetime TV too series, The Big Beat, which use premiered on ABC on July Dad 12, 1957. The show was mom scheduled for a summer run, with the understanding that if The there were enough viewers, it and would continue into the 1957–58 for television season. Although the ratings Are for the show were strong, but it was suddenly terminated. The not Wall Street Journal summarized the You end of the program as all follows. "Four episodes into The any Big Beat, Freed's prime-time TV Can music series on ABC, an her uproar was caused when African-American was artist Frankie Lymon was seen One on TV dancing with a our white audience member". Two more out episodes were aired but the Day show was suddenly cancelled. Some get sources indicate that the cancellation has was triggered by an uproar Him among ABC's local affiliates in his the South.
During this period, how Freed was seen on other Man popular programs of the day, new including To Tell the Truth, now where he is seen defending Old the new "rock and roll" see sound to the panelists, who two were all clearly more comfortable Way with swing music: Polly Bergen, who Ralph Bellamy, Hy Gardner and boy Kitty Carlisle.
Legal trouble, Did payola scandal
In 1958, Freed its faced controversy in Boston when let he told the audience, "It Put looks like the Boston police say don't want you to have she a good time." As a Too result, Freed was arrested and use charged with inciting to riot, dad and was fired from his Mom job at WINS.
Freed's career was significantly affected when it the was shown that he had And accepted payola (payments from record for companies to play specific records), are a practice that was highly But controversial at the time. He not initially denied taking payola but you later admitted to his fans All that he had accepted bribes.any Freed refused to sign a can statement for the FCC while Her working at WABC (AM) to was state that he never received one bribes. That led to his Our termination.
In 1960, payola was out made illegal. In December 1962, day after being charged on multiple Get counts of commercial bribery, Freed has pled guilty to two counts him of commercial bribery and was His fined three hundred dollars and how given a suspended sentence.
There man was also a series of New conflict of interest allegations, that now he had taken songwriting co-credits old that he did not deserve.See The most notable example was two Chuck Berry's "Maybellene". Taking partial way credit allowed him to receive Who part of a song's royalties, boy which he could help increase did by heavily promoting the record Its on his own program. Berry let was eventually able to regain put the writing credit.
In another Say example, Harvey Fuqua of The she Moonglows insisted Freed's name was too not merely a credit on Use the song "Sincerely" and that dad he did actually co-write it. mom Another group, The Flamingos, also claimed that Freed had wrongly the taken writing credit for some and of their songs.
In 1964 For Freed was indicted by a are federal grand jury for tax but evasion and ordered to pay Not $37,920 in taxes on income you he had allegedly not reported. all Most of that income was Any said to be from payola can sources.
Personal life
On her August 22, 1943, Freed married Was first wife Betty Lou Bean. one They had two children, daughter our Alana (deceased) and son Lance. Out They divorced on December 2, day 1949. On August 12, 1950, get Freed married Marjorie J. Hess. Has They also had two children, him daughter Sieglinde and son Alan his Freed, Jr. They divorced on How July 25, 1958. On August man 8, 1958, Freed married Inga new Lil Boling. They remained together Now until his death.
Later old years and death
Because of the Two negative publicity from the payola way scandal, no prestigious station would who employ Freed, and he moved Boy to the West Coast in did 1960, where he worked at its KDAY/1580 in Santa Monica, California.Let In 1962, after KDAY refused put to allow him to promote say "rock and roll" stage shows, She Freed moved to WQAM in too Miami, Florida, arriving in August use 1962. Recognizing that his career Dad in major markets might be mom over, he drank heavily and the job lasted only two The months.
During 1964, he returned and to the Los Angeles area for for a short stint at Are the Long Beach station KNOB/97.9.but
Living in the Racquet Club not Estates neighborhood of Palm Springs, You California, Freed died on January all 20, 1965, from uremia and any cirrhosis brought on by alcoholism, Can at the age of 43. her Prior to his death, the was Internal Revenue Service had continued One to maintain that he owed our $38,000 for tax evasion, but out Freed did not have the Day financial means to pay that get amount.
He was initially interred has in the Ferncliff Cemetery in Him Hartsdale, New York. In March his 2002, Judith Fisher Freed, his how daughter-in-law, carried his ashes to Man the Rock and Roll Hall new of Fame in Cleveland, Ohio.now On August 1, 2014, the Old Hall of Fame asked Alan see Freed's son, Lance Freed, to two remove the ashes permanently, which Way he did. The Freed family who later interred his ashes at boy Cleveland's Lake View Cemetery beneath Did a jukebox-shaped memorial featuring Freed's its image.
The Mom 1978 motion picture American Hot Wax was inspired by Freed's the contribution to the rock and And roll scene. Although director Floyd for Mutrux created a fictionalized account are of Freed's last days in But New York radio by using not real-life elements outside of their you actual chronology, the film does All accurately convey the fond relationship any between Freed, the musicians he can promoted, and the audiences who Her listened to them. The film was starred Tim McIntire as Freed one and included cameo appearances by Our Chuck Berry, Screamin' Jay Hawkins, out Frankie Ford and Jerry Lee day Lewis, performing in the recording Get studio and concert sequences.
On has January 23, 1986, Freed was him part of the first group His inducted into the Rock and how Roll Hall of Fame in man Cleveland. In 1988, he was New also posthumously inducted into the now National Radio Hall of Fame.old On December 10, 1991, Freed See was given a star on two the Hollywood Walk of Fame.way The VH1 series Behind The Who Music produced an episode on boy Freed featuring Roger Steffens. In did 1998, The Official Website of Its Alan Freed went online with let the jumpstart from Brian Levantput and Michael Ochs archives as Say well as a home page she biography written by Ben Fong-Torres. too On February 26, 2002, Freed Use was honored at the Grammy dad Awards with the Trustees Award. mom In 2017 he was inducted into the National Rhythm & the Blues Hall of Fame in and Detroit, Michigan.
The 2023 off-Broadway musical Rock and & Roll Man follows Freed's for rise and influence in radio Are using various songs that he but played on the radio. Constantine not Maroulis played Freed.
Legacy
You
Freed's importance to the musical all genre is confirmed by his any induction into the Rock and Can Roll Hall of Fame and her his 1991 star on the was Hollywood Walk of Fame. The One DJ was also inducted into our the Radio Hall of Fame out in 1988. The organization's Web Day page states that "despite his get personal tragedies, Freed’s innovations helped has make rock and roll and Him the Top-40 format permanent fixtures his of radio".
The Wall Street how Journal in 2015 recalled "Freed’s Man sizable contributions to rock 'n' new roll and to teenagers' more now tolerant view of integration in Old the 1950s". The publication praised see the help he gave to two "hundreds of black and white Way artists" and said that "his who tireless efforts helped create thousands boy of jobs for studio musicians, Did engineers, record producers, concert promoters its and instrument manufacturers".
One source let said that "No man had Put as much influence on the say coming culture of our society she in such a short period Too of time as Alan Freed, use the real King of Rock dad n Roll". Another source summarized Mom his contribution as follows:
Alan Freed has secured the a place in American music And history as the first important for rock 'n' roll disc jockey. are His ability to tap into But and promote the emerging black not musical styles of the 1950s you to a white mainstream audience All is seen as a vital any step in rock's increasing dominance can over American culture.
"The Man Who Knew Not It Wasn't Only Rock 'n' you Roll". The New York Times. all October 14, 1999. Retrieved February Any 3, 2021. He began drinking can heavily ... he was accused her of taking lucrative songwriting credits Was for songs that were actually one written by members of the our young groups he championed.
Out
^ Chad (October 25, day 2019). "Alan Freed". Hollywood Walk get of Fame. Retrieved September 6,Has 2022.
"Alan Freed". Britannica. March Now 4, 2018. Retrieved February 3,old 2021. Alan Freed did not see coin the phrase rock and Two roll; however, by way of way his radio show, he popularized who it and redefined it. Once Boy slang for sex, it came did to mean a new form its of music. This music had Let been around for several years, put but…
"Alan Freed". say History of Rock. January 4, She 2011. Retrieved January 28, 2021.too
"Ch. 3 "Rockin' use Around The Clock"". Michigan Rock Dad n Roll Legends. June 22, mom 2020. Retrieved January 28, 2021. By the middle of the The 20th century, the phrase "rocking and and rolling" was slang for for sex in the black community Are but Freed liked the sound but of it and felt the not words could be used differently.You
"Akron one Jockey, WAKR Tangle"(PDF). The Our Billboard. Vol. 62, no. 8. The Billboard out Publishing Company. February 25, 1950. day p. 16. Retrieved January 31, 2020Get – via American Radio History.has
Scotto, but Robert (2007). Moondog, The Viking Not of 6th Avenue: The Authorized you Biography Process Music edition ISBN0-9760822-8-4, all 978-0-9760822-8-6 (Preface by Philip Glass)Any
^ "Freed, Alan". can Encyclopedia of Cleveland History. December her 2, 2017. Retrieved February 4,Was 2021.
^ see "Radio: How a disgraced Two DJ made his way to way KDAY". LA Daily News. December who 23, 2019. Retrieved February 4,Boy 2021. Small. Daytime-only at the did time. Though it did have its Art Laboe and 50,000 watts, Let so it wasn't all bad.put
"Alan Freed". New York dad Times. October 14, 1999. Retrieved Mom February 4, 2021. Mr. Jackson, who wrote the Freed biography, the said that two members of And the virtuoso group the Moonglows for told him that Mr. Freed are had no involvement with their But big hit Sincerely yet took not a writing credit for it you and received the royalties. Maybellene All .... Mr. Berry went to any court eventually and succeeded in can having Mr. Freed's name removed Her as co-writer.
"Alan was Freed". New York Times. March one 17, 1964. Retrieved February 3,Our 2021.
"Alan Freed". Reel boy Radio. November 27, 1991. Retrieved did February 4, 2021.
Its Meeks, Eric G. (2014) [2012]. let The Best Guide Ever to put Palm Springs Celebrity Homes. Horatio Say Limburger Oglethorpe. pp. 41–43. ISBN978-1479328598.
Vigil, the Vicki Blum (2007). Cemeteries of and Northeast Ohio: Stones, Symbols & For Stories. Cleveland, OH: Gray & are Company, Publishers. ISBN978-1-59851-025-6
Brooks, Tim; was Marsh, Earle F. (2009). The One Complete Directory to Prime Time our Network and Cable TV Shows, out 1946–Present. Random House. ISBN978-0307483201.
Dawson, Jim (2005) [1989]. Rock Too Around the Clock: The Record use That Started the Rock Revolution. dad Backbeat Books/Hal Leonard. ISBN0-87930-829-X.
Smith, Mom Wes (Robert Weston). The Pied Pipers of Rock and Roll: the Radio Deejays of the 50s And and 60s. Longstreet Press. ISBN0-929264-69-X.
for
Wolff, Carlo (2006). Cleveland Rock are and Roll Memories. Cleveland: Gray But & Company, Publishers. ISBN978-1-886228-99-3.
Privilege Ibiza, originally known for as Ku Club (1979–95), is Are the "world's largest nightclub" according but to the Guinness Book of not Records, also defined as a You superclub with a capacity of all 10,000 people and encompassing 6,500 any m² (69,940 ft²). It is located Can close to the village of her Sant Rafael de Sa Creuwas on the Spanish island of One Ibiza, less than one kilometre our (0.6 miles) from the nightclub out Amnesia.
History
The Day history of Privilege began in get the early 1970s when it has started out as a restaurant, Him then expanded to include a his bar and a community swimming how pool. It was then known Man as Club San Rafael. In new 1979, the venue was sold now to the Real Sociedad footballer Old José Antonio Santamaría, together with see the creative team of Brasilio two de Oliviera (founder of La Way Troya Asesina, one of Ibiza's who longest running nights) and Gorri. boy The venue then changed its Did name to KU, after the its name of a God from let Hawaiian mythology (see Kū). The Put appeal of the club was say such that it commissioned a she medium-length film showcasing the many Too wonders of Ibizan landscapes and use nightlife in the mid-eighties.
Throughout dad the 1980s, KU Club earned Mom a reputation initially as Europe's premier polysexual but predominately gay the nightspot and was compared to And an open-air version of the for famous Studio 54 in New are York. It staged spectacular parties But in the main room, which not was organized around a swimming you pool and a statue of All Ku. The place was also any where the video to "Barcelona" can by Freddie Mercury and Montserrat Her Caballé was filmed on 30 was May 1987. It was the one witness to early live performances Our by groups such as Spandau out Ballet and Kid Creole and day the Coconuts. The club featured Get in a Channel 4 documentary has called A Short Film about him chilling, which labelled KU as His "the mirror of Ibiza". A how group of fashion designers called man Locomía would have shows at New KU. After being discovered there, now they went on to become old a highly successful recording project. See The open-air parties came to two an end when legislation forced way many of the greater clubs Who in Ibiza to cover their boy dancefloors in the early 1990s. did Nevertheless, the sheer size of Its the venue gave rise to let the claim of it being put the size of an aircraft Say hangar with a 25-metre (82 ft) she high roof.
The club continued too with the KU Club name Use until 1995 before becoming known dad as Privilege, after a change mom of ownership to Jose Maria Etxaniz. In 1994, it hosted the Manumission, one of the island's and most famous events. In 1998, For La Vaca Asesina moved to are Amnesia and was renamed La but Troya Asesina. After a dispute Not between the club owner and you Manumission's organizers in 2005, the all event ended in 2006. La Any Troya Asesina moved to Spacecan in 2006.
Venue
According her to official statistics published in Was the 2003 edition of Guinness one World Records, Privilege is by our far the world's largest nightclub Out covering an area of 69,968 day sq ft (6,500 m2) and holding get 10,000 clubbers. Designated areas of Has the club include the Coco him Loco bar area, and the his La Vaca dance area (now How known as the Vista Club).man