1.
Vortex Jazz Club
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The Vortex Jazz Club is a music venue in London, England, that primarily features live contemporary jazz. The Vortex started as a club in 1987 and was originally located in Stoke Newington Church Street. The Square opened on 10 November 2006 with a performance by Andy Sheppards Saxophone Massive, the street in front of the club was renamed Aim Bailey Place in December 2007, after guitarist Derek Bailey. The first release on the own record label is by the Portico Quartet. The Jazz Club also hosts a Vocals@Vortex Open Mic Session, which is run by Romy Summers, and this gives aspiring vocalists and musicians the opportunity to perform in a well-respected venue, and the talents of many artists have been discovered through this successful evening. Most notably, Daniel Farrugia, a jazz pianist from north London. It also has a popular monthly Gypsy/Eastern European night hosted by Gina Boreham which began in 2006 with Dunajska Kapelyes debut concert, the new venue in Dalston continues this approach and attitude. The club was nominated as a venue of the year by the Parliamentary Jazz Appreciation Group in 2006 and 2007 and was winner of the Live Jazz Award in 2013. In 2007, the set up a record label, Vortex Records. The album went on to be nominated for the 2008 Mercury Music Prize, the original building is now a Nandos restaurant. List of jazz clubs Vortex Club website
2.
Turntablism
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The mixer is plugged into a PA system for live events and/or broadcasting equipment (if the DJ is performing on radio, TV or Internet radio, so that a wider audience can hear the turntablists music. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records, the word turntablist was originated by Luis DJ Disk Quintanilla. The new term coincided with the resurgence of hip-hop DJing in the 1990s, some turntablists use turntable techniques like beat mixing/matching, scratching, and beat juggling. Some turntablists seek to have recognized as traditional musicians capable of interacting and improvising with other performers. The use of the turntable as an instrument has its roots dating back to the 1930s, 1940s. Experimental composers used them to sample and create music that was produced by the turntable. Cages Imaginary Landscape No.1 is composed for two variable speed turntables, frequency recordings, muted piano and cymbal, edgard Varèse experimented with turntables even earlier in 1930, though he never formally produced any works using them. Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s, creedence Clearwater Revivals 1968 self-titled debut album features a backspin effect in the song Walk on the Water. However, turntablism as it is known today did not surface until the development of hip hop in the late 1970s, Turntablism as a modern art form and musical practice has its roots within African-American inner city hip hop and hip hop culture of the late 1970s. Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash are widely credited for having cemented the now established role of DJ as hip hops foremost instrumentalist. Kool Hercs invention of break-beat DJing is generally regarded as the development in hip hop history. His influence on the concept of DJ as turntablist is equally profound, to understand the significance of this achievement, it is important to first define the break. Briefly, the break of a song is a musical fragment only seconds in length, Kool Herc introduced the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the record, finding the break on each record, and switching from one to the other using the DJ mixer. Using that idea, Grandmaster Flash elaborated on Kool Hercs invention of break-beat DJing and came up with the quick-mix theory and he described it as being. like cutting, the backspin, and the double-back. Kool Hercs revolutionary techniques set the course for the development of turntablism as an art form in significant ways, most important, however, he developed a new form of DJing that did not consist of just playing and mixing records one after the other. The type of DJ that specializes in mixing a set is well respected for his/her own set of unique skills, the DJ would be examined critically by the crowd on both a technical and entertainment level. Grand Wizzard Theodore, an apprentice of Flash, who isolated the most recognizable technique of turntablism, [ Eshun
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Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
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Record players
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The phonograph is a device invented in 1877 for the mechanical recording and reproduction of sound. In its later forms it is called a gramophone. To recreate the sound, the surface is rotated while a playback stylus traces the groove and is therefore vibrated by it. In later electric phonographs, the motions of the stylus are converted into an electrical signal by a transducer. The phonograph was invented in 1877 by Thomas Edison, while other inventors had produced devices that could record sounds, Edisons phonograph was the first to be able to reproduce the recorded sound. His phonograph originally recorded sound onto a sheet wrapped around a rotating cylinder. A stylus responding to sound vibrations produced an up and down or hill-and-dale groove in the foil, in the 1890s, Emile Berliner initiated the transition from phonograph cylinders to flat discs with a spiral groove running from the periphery to near the center. Later improvements through the years included modifications to the turntable and its system, the stylus or needle. The disc phonograph record was the dominant audio recording format throughout most of the 20th century, from the mid-1980s on, phonograph use on a standard record player declined sharply because of the rise of the cassette tape, compact disc and other digital recording formats. Records are still a favorite format for some audiophiles and DJs, vinyl records are still used by some DJs and musicians in their concert performances. Musicians continue to release their recordings on vinyl records, the original recordings of musicians are sometimes re-issued on vinyl. Usage of terminology is not uniform across the English-speaking world, in more modern usage, the playback device is often called a turntable, record player, or record changer. When used in conjunction with a mixer as part of a DJ setup, the term phonograph was derived from the Greek words φωνή and γραφή. The similar related terms gramophone and graphophone have similar root meanings, the roots were already familiar from existing 19th-century words such as photograph, telegraph, and telephone. In British English, gramophone may refer to any sound-reproducing machine using disc records, the term phonograph was usually restricted to machines that used cylinder records. Gramophone generally referred to a wind-up machine, after the introduction of the softer vinyl records, 33 1⁄3-rpm LPs and 45-rpm single or two-song records, and EPs, the common name became record player or turntable. Often the home record player was part of a system that included a radio and, later, from about 1960, such a system began to be described as a hi-fi or a stereo. In American English, phonograph, properly specific to machines made by Edison, was used in a generic sense as early as the 1890s to include cylinder-playing machines made by others
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Time Out Group
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Time Out Group is a digital and print publisher of web sites, apps, magazines and guidebooks covering events, entertainment and culture in cities around the world. Julio Bruno is the Group CEO of Time Out Group, based in cities such as London, New York and Paris, Time Out Group provides entertainment, food, and drink recommendations to an international audience through print and digital platforms. Time Out was established in 1968, by founder Tony Elliott and has developed into a global platform that inspires and enables people to experience the best of the city. Operating in 108 cities, across 39 countries, it has a global audience reach of 156 million across all platforms. Time Out provides original content for users to find things to do in the city as well as curated lists of the best films, food, attractions, art, culture, shopping. Time Out recently curated sci-fi films, a sex survey. Time Out Market, launched in 2014 in Lisbon, enables people to discover, book, live, the original Time Out magazine was first published in 1968 by Tony Elliott with Bob Harris as co-editor. The magazine was a one-sheet pamphlet with listings for London. The magazine started as a publication that had an alternative viewpoint on issues such as gay rights, racial equality. Early issues had a print run of around 5,000, the brand was expanded to North America with Time Out New York magazine also known as TONY in 1995 followed by Time Out New York Kids in 1996. The success of taking the Time Out brand abroad led to the expansion of the magazine worldwide, the brand grew to include travel magazines, city guides, and books. Time Out was able to withstand print competition, however, its integration of a digital platform during the online revolution proved to be a challenge. When Time Out New York launched it did not have a website and was competing against well-established online publications such as Citysearch and The Village Voice. Financial loss and the necessity to expand the Time Out brand led Tony Elliott to sell half of Time Out London and 66 percent of TONY to private equity group Oakley Capital in May 2011. The company continued to grow digitally and launched an app for New York. The iPad app was initially sponsored by MasterCard, in July 2015, Time Out Group announced a £7 million investment in Flypay, a pay-at-table mobile app that will integrate its technology into Time Outs media platform. In June 2016, Time Out Group underwent an IPO and trades under the symbol TMO on Londons AIM stock exchange, Time Out Magazine is available in 39 cities including London, New York, Istanbul, Dubai, Beijing, Hong Kong and Lisbon. Time Out London Magazine is a weekly publication based in London. Time Out provides event listings and editorial on film, theatre, Time Out New York was the brands first magazine launch in North America and debuted in 1995
