DJ-Kicks: Kemistry & Storm
DJ-Kicks: Kemistry & Storm is a DJ mix album, mixed by Kemistry & Storm. It was released on 25 January 1999 on the Studio! K7 independent record label as part of the DJ-Kicks series. "Trauma" - Dom & Roland – 3:19 "Ole" - John B – 4:27 "Submerged" - Architex & DJ Loxy – 2:42 "Fuse" - Dillinja – 4:03 "Mission Accomplished" - Digital & Spirit – 3:07 "Clear Skyz" - DJ Die – 3:40 "Closing In" - Bill Riley – 3:49 "Everywhere I Go" - Sci-Clone – 4:27 "Stash" - Decoder – 5:19 "Hyaena" - Goldie – 2:45 "Uneasy" - Jonny L – 2:39 "Pressure" - John B – 5:01 "Venom" - Primary Motive – 3:39 "Space Jam" - J Majik – 4:13 "Static" - Lemon D – 5:39 "Code" - Absolute Zero & Subphonics – 4:24 "Tronik Funk" - Dillinja – 2:52 Tracks 4, 15 and 17 are mistakenly credited to "Test" on the album. Absolute Zero – Performer Architex – Performer John B. – Performer Decoder – Performer DJ Die – Performer DJ Loxy & Usual Suspects – Performer Goldie – Performer Kemistry & Storm – DJ J Majik – Performer Primary Motive – Performer Bill Riley – Performer Marc Schilkowski – Design Sci-Clone – Performer Test – Performer Chris Zippel – Mastering DJ-Kicks website
A make-up artist or makeup artist is an artist whose medium is the human body, applying makeup and prosthetics on others for theatre, film, fashion and other similar productions including all aspects of the modeling industry. Awards given for this profession in the entertainment industry include the Academy Award for Best Makeup and Hairstyling and several entertainment industry awards such as the Emmy Awards and the Golden Globes. In the United States as well as the other parts of the globe, professional licenses are required by agencies in order for them to hire the MUA. Bigger production companies have in-house makeup artists on their payroll although most MUA's are freelance and their times remain flexible depending on the projects; the use of digital cameras may have made the use of bridal make up more popular FashionFashion makeup is used in magazine photography as well as on the fashion runway. Avant-garde makeup is an applicable technique used for projects that require experimental themes.
Fashion makeup is commonly used in television and film ranging for the natural prime look to more sophisticated applications such as color balance. Theatrical makeupStage makeup is used as a method in conjunction with stage lighting to highlight the actors' faces in order to make expressions visible to the audience from moderate distances; this includes defining the eyes and lips as well as the highlights and lowlights of the facial bones. Special make-up effects The use of special effects techniques enhancing physical features to exhibit metaphysical characteristics as well as fantasy makeup; the use of prosthetics and plaster casting are required for projects that entails non-human appearances. Accents such as theatrical blood and ooze are techniques applicable to this type of makeup. AirbrushingThe use of an airbrush, a small air-operated device that sprays various media some products and water-based makeup by a process of nebulization; the earliest record of this type of cosmetic application dates back to the 1925 film version of Ben-Hur, it has been re-popularized by the advent of HDTV and digital photography, where the camera focuses on higher depths of detail.
Liquid foundations that are high in coverage but thin in consistency are applied with the airbrush for full coverage without a heavy build-up of product. Bridal makeupBridal makeup is a new segment in a makeup artist's repertoire. From ethnic, to glamorous, to contemporary, makeup artists are now an important part of wedding planning in Asia, Europe and North America. High definitionThis is an art which involves the use of light reflectors and ingredients such as minerals to give the skin a flawless finish; this was developed due to the further development of high definition mediums and the cost implications of airbrush makeup. In 1955 the Bollywood group Cine Costume Make-Up Artist & Hair Dressers' Association created a rule that did not allow women to obtain memberships as makeup artists. However, in 2014 the Supreme Court of India ruled that this rule was in violation of the Indian constitutional guarantees granted under Article 14, 19 and Article 21; the judges of the Supreme Court of India stated that the ban on women makeup artist members had no "rationale nexus" to the cause sought to be achieved and was "unacceptable and inconsistent" with the constitutional rights guaranteed to the citizens.
The Court found illegal the rule which mandated that for any artist, female or male, to work in the industry, they must have domicile status of five years in the state where they intend to work. In 2015 it was announced that Charu Khurana had become the first woman to be registered by the Cine Costume Make-Up Artist & Hair Dressers' Association. In June 2014, the Cine Costume Make-Up Artist & Hair Dressers' Association authorised an official protest on the movie set of Bang Bang! in protest of a foreign makeup artist, Daniel Bauer working on the movie for its lead actress, Katrina Kaif. The CCMAA and 15 of its members protested on the movie set as Daniel Bauer was not registered with the Union, despite the Union banning foreign artists working in Bollywood; the issue was resolved with the CCMAA granting Daniel Bauer full membership Rick Baker Way Bandy Bobbi Brown John Chambers Nina Flowers Joanne Gair Huda Kattan Jack Pierce Pat McGrath Ve Neill Dick Smith Marco Castro Lon Chaney Lisa Eldridge Jeffree Star NikkieTutorials James Charles Kelly Hanna BBC Blast - Becoming a makeup artist
Metalheadz is a drum and bass record label based in the United Kingdom. Founded in 1994 by Kemistry & Storm and Goldie. Goldie's early experiences of the rave scene the club Rage had a profound effect on him. DJ Kemistry introduced him to 4hero's Reinforced Records where he went on to create some design and artwork for them, leading to doing A&R for the label. In his autobiography, Goldie explains how he took a 1991 design created by Darren Bartlett and that he added headphones to the skull design "so that the skull symbolised the head, while the'phones were music, because music will be here long after we're all dead and gone." During a webchat with British Newspaper The Guardian, Goldie states that the design was inspired by Wolverhampton FC's logo.. Goldie credits Grooverider with the term "Metalheadz", coined with reference to Goldie becoming obsessed with the metal acetates known as dubplates used to test out the latest tunes before release. Metalheadz started out as a "dubplate label" for Reinforced, with the logo first appearing on an acetate for a Rufige Cru track.
DJ Storm recalls Kemistry bringing Goldie to London nightclub Rage: "The night Goldie really'got it', we came back to our flat and he said'right, I want to make this music, you’ll be the DJs, we’ll have a label and a club, we’ll make some t-shirts'. That was our dream and that dream became the Metalheadz label." The label's first release was a split 12" single with Doc Scott's "V. I. P. Drumz" backed with Goldie's "V. I. P. Riders Ghost"; the accompanying press release stated that Metalheadz aimed to "explore both the roots of Breakbeat and Jungle, rework it into a new dimension, Drum'n' Bass."The Metalheadz back catalogue from this era features many major figures from drum and bass, with artists such as Photek, Adam F, Doc Scott, Alex Reece, Wax Doctor, Source Direct, J Majik, Lemon D, Hidden Agenda, Ed Rush and Optical contributing productions to the imprint. In July 1995, the label launched the weekly Metalheadz Sunday Sessions club night, which achieved legendary status at London's Blue Note club.
In September 1995, Metalheadz in conjunction with FFRR Records released Goldie's critically acclaimed debut album Timeless. In 1996 Metalheadz released the first installment in the groundbreaking Platinum Breakz series of compilations; the first volume was billed as "21st Century Urban Breakbeat Music" and included tracks by 11 artists which had appeared on 12" as well as new efforts. The series was hailed by critics as the uniquely futuristic sound of multiracial Britain, they showcased a maturing genre of music that displayed the influences of reggae, hip-hop and techno and were sophisticated and intricately produced, contrary to the image of the music, presented by the mass media up to that point. Before their release and bass compilations had been more associated with live DJ mix albums of varying quality, the interest in the Platinum Breakz series proved instrumental in bringing the scene from its underground origins to the brink of mainstream success.1998 saw the release of "Talkin' Headz - The Metalheadz Documentary", a film by Manga Entertainment.
Goldie, the club night, the label and its artists were some of the key elements in drum and bass/jungle's mid-to-late 90s mainstream resurgence. In February 2010, Metalheadz beat Soul II Soul, the Trojan Soundsystem, Digital Mystikz in the first Red Bull Music Academy Culture Clash at the Camden Roundhouse. In 2012 the label celebrated its 100th release; these include: Reinforced Records List of record labels List of jungle and drum'n'bass artists Drum and bass Official site Discography on Rolldabeats.com
A DJ mix or DJ mixset is a sequence of musical tracks mixed together to appear as one continuous track. DJ mixes are performed using a DJ mixer and multiple sounds sources, such as turntables, CD players, digital audio players or computer sound cards, sometimes with the addition of samplers and effects units, although it is possible to create one using sound editing software. DJ mixing is different from live sound mixing. Remix services were offered beginning in the late 1970s in order to provide music, more beatmixed by DJs for the dancefloor. One of the earliest DJs to refine their mixing skills was DJ Kool Herc. Francis Grasso was the first DJ to use headphones and a basic form of mixing at the New York City nightclub Sanctuary. Upon its release in 2000, Paul Oakenfold's Perfecto Presents: Another World became the biggest selling DJ mix album in the US. A DJ mixes music from genres. Other genres mixed by DJ includes hip hop and disco. Four on the floor disco beats can be used to create seamless mixes so as to keep dancers locked to the dancefloor.
Two of main characteristics of music used in DJ mixes is a dominant repetitive beats. Music mixed by DJs has a tempo which ranges from 120 bpm up to 160 bpm. A DJ mixset is performed live in front of an audience in a nightclub, party, or rave setting. Mixsets can be performed live on radio or recorded in a studio. Methods of mixing vary depending on the music genres being played. House and trance DJs tend to aim for smooth blended mixes while hip-hop DJs may use turntablism and other cutting techniques; some DJs those mixing Goa trance may prefer to mix during a break in which instead of beats, washes of synthesized sounds are combined. Further refinement to the mixing quality can be provided with harmonic mixing which avoids dissonant tones during a mix. In live situations, the progression of the DJ set is a dynamic process; the DJ chooses tracks in response to the activity on the dance floor. If the dance floor becomes less active, the DJ will make a judgement as to what track will increase dance floor activity.
This may involve changing the general mood of the set. Track choices are due, in part, to where the DJ wishes to take his or her audience. In this way, the resulting mixset is brought about through a symbiotic relationship between audience and DJ. Studio DJs have the luxury of spending more time on their mix, which leads to productions that could never be realized in real-time. Traditional DJ mixing with vinyl required the DJ sync tracks tempo and the modify each tracks volume and equalisation to create a smooth blend. DJs can use a mixer's crossfader to switch between tracks or use the volume control for each source with the crossfader permanently positioned in the middle. Mixing is done through the use of headphones and a monitor speaker or foldback as basic aids. At this basic level the DJ is required to develop a specific auditory skill where each track's tempo had to be distinguished while listening to more than one piece of music; the use of compact discs and players such as the CDJ by DJs brought technological advances for the DJ performing a mix including a readout of the bpm and a visual representation of the beat.
Modern computer technology has allowed automatic beatmatching and led to debate regarding its use, sometimes described as cheating. DJ software provides automatic key detection which simplifies harmonic mixing. To be released commercially, DJ mixes need many copyright clearances and licenses; the vast majority of DJ mixes throughout the years have only been legal in so far as the copyright holders do not choose to take legal action against the DJ for the authorized use of their material. DJs distribute their recorded mixes on CD-Rs or as digital audio files via websites or podcasts for promotional purposes. Many popular DJs release their mixes commercially on a compact disc; when DJ sets are distributed directly via the Internet, they are presented as a single unbroken audio file. Medley Segue Is a Mixset a Piece of Art? by Brent Silby ─ article provides argument to support the claim that a DJ Mixset is a form of art
Drum and bass
Drum and bass, is a genre and branch of electronic music which emerged from rave and jungle scenes in Britain during the early 1990s. The style is characterised by fast breakbeats with heavy bass and sub-bass lines, sampled sources, synthesizers; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. Drum and bass incorporates a number of styles. A major influence on jungle and drum and bass was the original Jamaican reggae sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcore, ragga jungle, darkstep, neurofunk, ambient drum and bass, liquid funk, jump up, drumfunk, sambass and drill'n' bass. From its roots in the UK, the style has established itself around the world. Drum and bass has influenced many other genres like hip hop, big beat, house, trip hop, ambient music, jazz and pop. Drum and bass is dominated by a small group of record labels.
The major international music labels had shown little interest in the drum and bass scene, until BMG Rights Management acquired RAM in February 2016. Drum and bass remains most popular in the UK although it has developed scenes all around the world, in countries such as the United States, the Netherlands, New Zealand, Canada, the Czech Republic and Australia. In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style in the rave scene, which combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and samples of music and effects from films and television programmes. A faster subgenre was known as "hardcore" but from as early as 1991, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain.
It is important to note when discussing the history of drum and bass that prior to jungle, the music was getting faster and more experimental. Professional DJ and producer C. K. states, "There was a progression. Anyone buying vinyl every week from 1989 to 1992 noticed this." By 1994, jungle had begun to gain mainstream popularity and fans of the music became a more recognisable part of youth subculture. The genre further developed and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, complex edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's aggressive or menacing sound and themes of violence. However, this developed in tandem with the positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.
By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass. As the genre became more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance, it began to split into recognisable subgenres such as jump-up and Hardstep. As a lighter and jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep which drew greater influence from techno music and the soundscapes of science fiction and anime films; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles.
Speed garage shared high tempos and heavy basslines with drum and bass, but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/producer C. K. says, "It is forgotten by my students that a type of music called "garage house" existed in the late 1980s alongside hip house, acid house and other forms of house music." He continues, "This new garage of the mid 90s was not a form of house or a progression of garage house. The beats and tempo that define house are different; this did cause further confusion in the presence of new house music of the mid-1990s being played alongside what was now being called garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Chase & Status and Australia's Pendulum
Clifford Joseph Price, MBE, better known by his stage name Goldie, is an English musician, DJ, visual artist and actor from Walsall, United Kingdom. Gaining exposure for his work as a graffiti artist, Goldie became well known for his pioneering role in the 1990s UK jungle and bass and breakbeat hardcore scene, he co-founded the label Metalheadz. He would release several albums under his own name, including the 1995 album Timeless, which entered the UK charts at number 7. Goldie's acting credits include the 1999 James Bond film The World Is Not Enough, Guy Ritchie's Snatch and the BBC soap opera EastEnders, he has appeared in a number of celebrity reality television shows, including Celebrity Big Brother 2, Strictly Come Dancing, Come Dine with Me and Maestro. Price is of Scottish heritage, he was raised in childcare homes and by several foster parents. Price was a member of the breakdance crew Westside, based in the Whitmore Reans and Heath Town areas of Wolverhampton, in the 1980s, he joined a breakdance crew called the Bboys, made his name as a graffiti artist in the West Midlands.
His artwork around Birmingham and Wolverhampton was featured in Dick Fontaine's documentary Bombin'. He took part in the largest-ever British graffiti art battle alongside Bristol artist Robert "3D" Del Naja, who formed Massive Attack, he is mentioned for his graffiti in the book Spraycan Art by Henry Chalfant and James Prigoff, which contains several examples of his art. He moved to the United States owing to graffiti projects, started selling grills in New York and Miami, his nickname stems from "Goldielocks", an earlier nickname given to him during his Bboys days and subsequently shortened when he no longer wore dreadlocks. By 1991, Price had become fascinated by the British breakbeat music scene when his girlfriend, DJ Kemistry, introduced him to the pioneering jungle and drum and bass producers Dennis "Dego" McFarlane and Mark "Marc Mac" Clair, known as 4hero, he went on to execute some A&R work for 4hero's Reinforced Records label. In 1992, Price made his first appearance, by contributing to an EP by Ajax Project.
For many years, the track was misattributed to Price himself because of his subsequent use of "Rufige" as moniker for his own releases. His releases Killa Muffin b/w Krisp Biscuit and the Dark Rider EP were released under the alias "Rufige Cru" on Reinforced, he has used the alias "Rufige Kru" to release collaborations with other producers such as Heist. His track "Terminator", released under the name "Metalheads" in 1992, was a hit in the jungle scene and is noted for pioneering the use of time stretching. In 1993, he released another 12" on the Synthetic Hardcore Phonography label. 1994 saw him setting up Metalheadz. His first studio album, followed in 1995. Timeless entered the UK Albums Chart at number seven; the album fused the breakbeats and basslines common in jungle with orchestral textures and soul vocals by Diane Charlemagne. The album's title track was a 21-minute symphonic piece. "Inner City Life", a track from the album, reached number 39 in the UK Singles Chart. Timeless helped to popularise bass as a form of musical expression.
The music critic Simon Reynolds noted that Price's credentials as a musical innovator – and as one of the key driving forces of innovation in the jungle/breakbeat scene – were exceptional. "Goldie revolutionised jungle not once but thrice", he noted in The Wire magazine, continuing, "First there was'Terminator', then'Angel', now there's'Timeless', a 22-minute hardcore symphony."In 1996, he released the Toasted Both Sides Please remix of the Bush song "Swallowed", which topped charts in the USA and Canada. Price released his second album, Saturnz Return, in 1998; the album's opening track, "Mother", is an hour-long orchestral bass piece. The album featured appearances by Noel Gallagher and KRS-One; the album met with mixed reviews. David Brown of Entertainment Weekly called the album "ambitious but monotonous and overlong — Pink Floyd with a gold tooth". In 2002, Price said that he had been working for three years on a film called Sine Tempus, described as a coming-of-age story of a young paintbrush artist.
In 2006, he announced the soundtrack as his new album. The album was released via the Metalheadz website in 2008. Price is known for his work as the leader of Rufige Kru; the group has no fixed members and has included drum and bass producers such as Technical Itch, Cujo, Agzilla Da Ice, Danny J, Doc Scott and Rob Playford. March 2013 saw the release of The Alchemist: The Best of Goldie 1992–2012, featuring prominent tracks from throughout Price's musical career. A subsequent compilation, the three-CD Masterpiece set released by Ministry of Sound in 2014, brought together tracks that influenced him with cuts that soundtracked his entry into the rave scene and key moments from the drum'n'bass scene. Price has appeared in Guy Ritchie's Snatch and several other films, most notably the James Bond film, The World Is Not Enough, he played gangster Angel Hudson in the British soap opera EastEnders. Price starred in Everybody Loves Sunshine with David Bowie. In the late 1980s, Price app
The Guardian is a British daily newspaper. It was founded in 1821 as The Manchester Guardian, changed its name in 1959. Along with its sister papers The Observer and The Guardian Weekly, the Guardian is part of the Guardian Media Group, owned by the Scott Trust; the trust was created in 1936 to "secure the financial and editorial independence of the Guardian in perpetuity and to safeguard the journalistic freedom and liberal values of the Guardian free from commercial or political interference". The trust was converted into a limited company in 2008, with a constitution written so as to maintain for The Guardian the same protections as were built into the structure of the Scott Trust by its creators. Profits are reinvested in journalism rather than distributed to shareholders; the current editor is Katharine Viner: she succeeded Alan Rusbridger in 2015. Since 2018, the paper's main newsprint sections have been published in tabloid format; as of November that year, its print edition had a daily circulation of 136,834.
The newspaper has an online edition, TheGuardian.com, as well as two international websites, Guardian Australia and Guardian US. The paper's readership is on the mainstream left of British political opinion, its reputation as a platform for liberal and left-wing editorial has led to the use of the "Guardian reader" and "Guardianista" as often-pejorative epithets for those of left-leaning or "politically correct" tendencies. Frequent typographical errors in the paper led Private Eye magazine to dub it the "Grauniad" in the 1960s, a nickname still used today. In an Ipsos MORI research poll in September 2018 designed to interrogate the public's trust of specific titles online, The Guardian scored highest for digital-content news, with 84% of readers agreeing that they "trust what see in it". A December 2018 report of a poll by the Publishers Audience Measurement Company stated that the paper's print edition was found to be the most trusted in the UK in the period from October 2017 to September 2018.
It was reported to be the most-read of the UK's "quality newsbrands", including digital editions. While The Guardian's print circulation is in decline, the report indicated that news from The Guardian, including that reported online, reaches more than 23 million UK adults each month. Chief among the notable "scoops" obtained by the paper was the 2011 News International phone-hacking scandal—and in particular the hacking of the murdered English teenager Milly Dowler's phone; the investigation led to the closure of the News of the World, the UK's best-selling Sunday newspaper and one of the highest-circulation newspapers in history. In June 2013, The Guardian broke news of the secret collection by the Obama administration of Verizon telephone records, subsequently revealed the existence of the surveillance program PRISM after knowledge of it was leaked to the paper by the whistleblower and former NSA contractor Edward Snowden. In 2016, The Guardian led an investigation into the Panama Papers, exposing then-Prime Minister David Cameron's links to offshore bank accounts.
It has been named "newspaper of the year" four times at the annual British Press Awards: most in 2014, for its reporting on government surveillance. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle, a group of non-conformist businessmen, they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. Taylor had been hostile to the radical reformers, writing: "They have appealed not to the reason but the passions and the suffering of their abused and credulous fellow-countrymen, from whose ill-requited industry they extort for themselves the means of a plentiful and comfortable existence, they do not toil, neither do they spin, but they live better than those that do." When the government closed down the Manchester Observer, the mill-owners' champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, all of the Little Circle wrote articles for the new paper.
The prospectus announcing the new publication proclaimed that it would "zealously enforce the principles of civil and religious Liberty warmly advocate the cause of Reform endeavour to assist in the diffusion of just principles of Political Economy and support, without reference to the party from which they emanate, all serviceable measures". In 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828; the working-class Manchester and Salford Advertiser called the Manchester Guardian "the foul prostitute and dirty parasite of the worst portion of the mill-owners". The Manchester Guardian was hostile to labour's claims. Of the 1832 Ten Hours Bill, the paper doubted whether in view of the foreign competition "the passing of a law positively enacting a gradual destruction of the cotton manufacture in this kingdom would be a much less rational procedure." The Manchester Guardian dismissed strikes as the work of outside agitators: " if an accommodation can be effected, the occupation of the agents of the Union is gone.
They live on strife "The Manchester Guardian was critical of US President Abraham Lincoln's conduct during the US Civil War, writing on the news that Abraham Lincoln had been assassinated: "Of his rule, we can never speak except as a series of acts abhorrent to every true notion of constitutional right and human liberty " C. P. Scott ma