The Monkey And The Pig (Part I of a three part series)

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Monkey’s and Pig’s two distinct animals that brings about different feeling when you think about them or even research them. The monkey is clever and seems very connected to community and family, as we watch them jumping from limb to limb in the wild and in our local zoos. However when provoked are poop throwing, loud noise making boxes with a territorial streak in them.

The Pig is slightly different because its history, being one of the earliest domesticated farm animal, it is more dorsal and seditery. It’s known to spend its day wallowing around in mud, to stop the sun from burning it sensitive skin, and eating table scraps, or any food the farmer puts in its pin, after it douses it with mud.

In this blog I will use the names monkey and pig as the individual groups will see fit to call each other by these names, NO MONKEYS OR PIGS WERE HURT IN THE PREPARATION OF THIS BLOG!!! Hopefully No Individuals Are Hurt By Its Language!!!!

This blog came about as I was watching a show on youtube featuring a women on the phone, she was very hostile, talking about how African American people, which called many names like: monkeys, N word, poor, terrible and I thought to myself. Who is this and why is she spouting all these awful, racial prejudice statement? Then I said asked myself : Why does she see the African American race or “Black” as a group, opposed to the European American race or “White’s?”

She was Talking like both groups were in some sort of team sport and they were playing on opposite sides. However these teams didn’t have a mascot, they are the mascots named “The Monkey’s” and “The Pig’s”

Like in highschool when a team played any opposing team at any sport we gave them a derogatory name, show them many thing but most of all that we didn’t particularly like them, and that we didn’t respect them. The problem with this practice is that we didn’t actually know them enough to like them or respect them. This is a terrible way of “doing business” because its hurtful, it has many other long term negative ramification and devastating consequences for the wearer’s of these labels, or names. Moreover it is act of bullying as with bullying: as long as the bullies are in a presumed position of power, the bullied will continue to wear this label that the bully give them, even if it’s not true, and no matter how hurtful it is. Let’s talk about some of those long term effects:

With African Americans
African American and European American have a long history of highly destructive behavior toward one another stem-ing from the misfortune of Slavery. Most of it comes from the misinterpretation and misinformation of the actual actions and reaction of individual involved in this process, and the problems lived out while trying to chronicle this misinformation, this cruel and the trying times of making and the developing of early American History. And as I said earlier with two competing, opposing groups and the names that they give each other, and these names are for African Americans, It’s The Monkey and for European Americans it’s The Pig.

These names fly back and forth, when both are angry, and when they are truly heated the big guns come out like, “N” word and the “H” but we won’t start with those terms, we will start off small and here is a small history of where the monkey and the pig came to be.
People of African Descent have a long history of of European people calling them monkeys and showing them in images of monkeys. Here’s that history.

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There is a long history of Europeans comparing Africa to monkeys:

Comparing Black People to Monkeys has a Long, Dark Simian History

By The Conversation Africa
Wulf D. Hund, University of Hamburg and Charles W Mills, Northwestern University
This article is a foundation essay. These are longer than usual and take a wider look at a key issue affecting society.
In the history of European cultures, the comparison of humans to apes and monkeys was disparaging from its very beginning.

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When Plato – by quoting Heraclitus – declared apes ugly in relation to humans and men apish in relation to gods, this was cold comfort for the apes. It transcendentally disconnected them from their human co-primates. The Fathers of the Church went one step further: Saint Gregory of Nazianzus and Saint Isidore of Seville compared pagans to monkeys.
In the Middle Ages, Christian discourse recognised simians as devilish figures and representatives of lustful and sinful behaviour. As women were subject to an analogous defamation, things proceeded as one would expect. In the 11th century, Cardinal Peter Damian gave an account of a monkey that was the lover of a countess from Liguria. The jealous simian killed her husband and fathered her child.

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Hotbed of monsters

Several centuries later in 1633, John Donne in his Metempsychosis even let one of Adam’s daughters be seduced by an ape in a sexual affair. She eagerly reciprocated and became help-lessly hooked.
From then on, the sexist manifestation of simianisation was intimately intertwined with its racist dimension. Already Jean Bodin, doyen of the theory of sovereignty, had ascribed the sexual intercourse of animals and humans to Africa south of the Sahara. He characterised the region as a hotbed of monsters, arising from the sexual union of humans and animals.
The history of a narrative by Antonio de Torquemada shows how in this process Africans became demonized and the demons racialism. In the story’s first version (1570), a Portuguese woman was exiled to Africa where she was raped by an ape and had his babies. Image result for Half Human half monkey

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A good century onwards the story had entered the realm of Europe’s great philosophical thought when John Locke in his 1689 essay Concerning Human Understanding, declared that “women have conceived by drills”. His intellectual contemporaries knew well that the stage for this transgressing love-and-rape-story was Africa because, according to the wisdom of the time, drills lived in Guinea.
In the following centuries, simianisation would enter into different sciences and humanities. Anthropology, archaeology, biology, ethnology, geology, medicine, philosophy, and, not least, theology were some of the fields.

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King Kong’s reel racism

Literature, arts and everyday entertainment also seized on the issue. It popularised its repellent combination of sexist and racist representations. The climax was the hugely successful classic of Hollywood’s horror factory, King Kong.
At the time of King Kong’s production the public in the US was riveted by a rape trial. The Scottsboro Boys were nine black teenagers accused of having raped two young white women. In 1935 a picture story by the Japanese artist Lin Shi Khan and the lithographer Toni Perez was published. ‘Scottsboro Alabama’ carried a foreword by Michael Gold, editor of the communist journal New Masses.
One of the 56 images showed the group of the accused young men beside a newspaper with the headline “Guilty Rape”. The rest of the picture was filled with a monstrous black simian figure baring its teeth and dragging off a helpless white girl.
The artists fully understood the interplay of racist ideology, reactionary reporting and southern injustice. They recognised that the white public had been thoroughly conditioned by the dehumanising violence of animal comparisons and simianised representations, as in the reel racism of King Kong.

Labelled with disease

Animalisation and even bacterialisation are widespread elements of racist dehumanisation. They are closely related to the labelling of others with the language of contamination and disease. Images that put men on a level with rats carrying epidemic plagues were part of the ideological escort of anti-Jewish and anti-Chinese racism.
Africa is labelled as a contagious continent incubating pestilences of all sorts in hot muggy jungles, spread by reckless and sexually unrestrained people. AIDS in particular is said to have its origin in the careless dealings of Africans with simians, which they eat or whose blood they use as an aphrodisiac.
This is just the latest chapter in a long and ugly line of stereotypes directed against different people like the Irish or Japanese, and Africans and African Americans in particular. To throw bananas in front of black sportspeople is a common racist provocation even today.

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Why are blacks abused?

What explains this disastrous association of black people defamed as simian? A combination of factors might be the cause:

  • the prevalence of a variety of great apes in Africa, closest in size to humans. The Asian great ape population is more limited, while in the Americas one finds monkeys, but no apes;
  • the extent of the aesthetic “distance” between whites and blacks, their greater degree from a white perspective of physical “otherness” (deviant not merely in skin colour and hair texture but facial features) as compared to other “non white” races;
  • the higher esteem generally accorded by Europeans to Asian as against African civilisations; and
  • above all the psychic impact of hundreds of years of racial slavery in modernity, which stamped ‘Negroes’ as permanent sub-persons, natural slaves, in global consciousness.

Large scale chattel slavery required reducing people to objects. Precisely because of that it also required the most thorough and systematic kind of dehumanization in the theory of that reality.

Continue to Part II…..

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Do You Want To Be A D.J? A Weekly Series: Week Seven Learning The Four Basic DJ Skills

 This is 101 DJ

Learn Basic Skills four DJs

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There are a number of basic skills to consider when learning how to become a DJ: mixing, EQing, phrasing, beatmatching, and prep. We’re going to cover them briefly, here.

Beatmatching

You’ll quickly learn that this is a major point of contention in the DJ community.

The reason is that technology has, arguably, made this skill obsolete. All the major DJ software packages, and latest industry-standard Pioneer gear, has built-in “sync” functionality.

The purpose of beatmatching is to get the two tracks you’re mixing to play at the same tempo (the speed at which the song is playing) and phase (the beats from both tracks playing in-time with each other).

Think about it like two cars driving next to each other on the highway.

  • Tempo is the same as the speed, such as 60 MPH.
  • Phase is having the two cars directly next to each other.

So, why learn beatmatching when there is such a thing as a sync button? Well, firstly it gives you the ability to beat-mix on pretty much anything out there. Turntables and some CDJs require you to do this manually.

But most importantly, it helps to develop and tune your ears so that you know what to listen for (when tracks drift out of time, phase, etc.)

Even when I’m using DJ software and allowing it to sync my tracks, I use my ears to adjust the phase appropriately… since I know how it sounds from beatmatching.

I’m the kind of DJ who doesn’t like spending hours prepping and beat-gridding his tracks, but I’ve never felt the need to because I can do all of these things manually.

The overall point is that learning to beatmatch will make you a better mix DJ, whether you’re digital or not. That being said, many mobile and radio DJs feel no urge to beatmatch at all.

You can always come back to this later, but I think learning to beatmatch early is a great idea. Also consider Beatmatching by ear.

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Ten Reasons You should Learn To Beatmatch By Ear

In today’s digital age, it’s becoming harder for veterans to explain to younger DJs the benefits of learning to beatmatch manually (by ear).  While I do believe that, for better or for worse, beatmatching continues to quickly lose relevance in the DJ realm, that doesn’t mean that I suggest writing it off.

Due to the polarizing nature of this article after tens of thousands of views, and the controversy surrounding the topic, we have addressed this post on episode 26 of my weekly show: The Passionate DJ Podcast. You may listen to that episode here:

The Passionate DJ Podcast         

Episode 26: Is Beat Matching Still Relevant?           

It’s no wonder that a lot of traditional DJs get their panties in a bunch about this subject, because it’s a skill they took weeks, months, or even years to master… and now “any Joe Schmoe” can press a button and have a computer do the hard work for them.  Because of this, newer DJs often miss a lot of the subtle details and observations along the way.

In this post, we’ll go over some reasons why new DJs might still be interested in learning this skill.  I’ll also go over some tips on how to learn, if you don’t already know.

What you won’t find is a lengthy diatribe on how it’s your duty, that’s what real DJs do, and how the sync button is ruining DJing.

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Practical Uses

1. You Can Play On Anything

Knowing how to beatmatch manually gives you options.  Someone throwing a vinyl-only gig?  Show up at a gig where there’s no room for your controller (but they provide a pair of standard CDJs)?  Impromptu party at a friend’s house and want to use their gear?  What if your controller breaks or your laptop goes belly-up on the day of your set?  If you know how to mix the good ol’ fashioned way, none of these will be a problem to you.

2. It Helps You Learn About Rhythm

Beatmatching manually causes you to rely on your ear.  You are forced to truly listen to what it is that you’re doing, rather than allowing technology to fill the gaps.  Your ear begins to zero in on auditory cues, such as a distinct snare or hi-hat.  You start to notice how the percussion is structured… the syncopation and groove of the rhythm.  This, in turn, helps aid you with things like switching up genres and subtle mixing.

3. The Tech is Good, But Not Perfect

I’m one of those DJs that doesn’t beat-grid his tracks when playing digitally.  The only kind of prep work I do has to do with library management, and occasionally, a cue point or two.  This affords me the opportunity to be “lazy” in that when I buy 20 tracks, it takes me 5-10 minutes to “prep” them rather than making an evening out of it.

4. It Allows You to Work With Other DJs

If you are reliant on one particular setup and the ability to sync your tracks, you might as well throw out the idea of an impromptu tag-team set with a fellow DJ.  While it’s true that there are ways to electronically sync multiple DJ setups, it adds unnecessary complication, doesn’t always work, and doesn’t allow for you to play alongside a vinyl DJ.  It’s much easier (and more fun) to be able to just mix back and forth and not worry about what media formats are being used.

5. You Can Mix Songs With Tempo Variations

…without having to modify the source track or use something like Ableton to warp it.  Not just songs that have an intentional BPM change, but also songs that aren’t perfectly quantized (such as mixing funk records with live drummers).

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Subjective Points

I separate these more obscure ideas from the practical uses above, because they do not help you do anything technical and might not matter to every DJ.  But, they are points worth mentioning all the same.  It’s up to you to decide which of these resonate with you.

1. It Helps You Know Your Roots

You might also call this “putting in your time”.  Beatmatching is one of the foundational pillars of DJing, and it doesn’t hurt to learn your craft from the bottom up.  Learning to do it the original way really allows you to appreciate DJing as a culture and to understand where this whole thing comes from.  (Learning to walk before you run, learning to add and subtract before using a calculator… etc.)

2. Peer Respect

Let’s face it… whether or not it matters to you, there’s an instant level of respect (especially amongst other DJs) when you can prove that you’re not entirely reliant on technology to do your mixing for you.

3. For Many, It’s More Fun

There’s something sexy about spinning wax, and having to really put your focus on what you’re doing.  Many people like digging through crates and pulling out that next killer tune, and many people enjoy watching it.  You get a certain tactile and intimate feel that you don’t get as much with software DJing.  Some people enjoy flipping through a CD book and get a similar sense of satisfaction by playing this way.  Sync buttons can lead to boredom.

4. It Can Be More Rewarding

When you play a set of 20 songs on a Traktor rig with the sync button engaged, you’re not pleasantly surprised when the tracks… well, all stay in sync.  There’s a sense of accomplishment and reward to be had by actually doing the work yourself.

5. It Helps Maintain a Human Element

Somewhat like comparing a live drummer to a drum machine, there’s something more “human” about manual beat matching (not in just the feel, but in the output).  Manual beat matching is one way to help give your sets a live feel… to let your audience know that you are more than a large iPod.

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Tips For Learning

  • Beatmatching is the one “big” DJ technical skill that usually takes the most time for people to learn.  It’s going to be frustrating… it takes perseverance. But it’s worth making the investment. Try it a little each day and you’ll be surprised how quickly you can pick it up.
  • You don’t have to have a pair of turntables to learn how to beatmatch (though, they are the most challenging). You can beatmatch manually using just about modern “deck controller by simply turning off your software’s Sync function and turning your screen away, or on your CDJs by hiding any displays and BPM counters with a piece of tape.
  • When matching two tracks, it helps to push the cued track’s tempo (pitch fader) up significantly faster than the track that’s already playing. That way, there’s no question of which track is playing faster than the other (and which way you need to adjust the tempo)… you can pretty much guarantee that the “incoming” track is faster and you need to start slowing it down to compensate.
  • Practice, practice, practice. The concepts aren’t hard to understand, but the process can take weeks, months, or years to master.(https://passionatedj.com/10-reasons-why-you-should-still-know-how-to-beatmatch-by-ear/)

Beatmatching is accomplished using a pitch fader (to adjust tempo). You use a jog wheel, pitch-bend button, or the physical manipulation of a record to adjust phase.

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Phrasing

That’s phrasing, with an “r”… not phasing.

This one will make sense to anyone who has ever played a musical instrument. A song’s structure is based on beats and bars (measures), which make up the song’s phrases.

Phrasing simply means to mix your tracks together at points in the songs which make sense.

Almost all music that you will be DJing is in 4/4 time, whether you play electronic dance music, hip-hop, funk, or top 40. What this technically means is that there are four beats in a measure (bar), and that the quarter note gets one beat.

In contrast, 6/8 time means that there are 6 beats in a measure, and the eighth note gets one beat. The takeaway is that you need to learn how to count to four, as most “DJ-able” music is 4/4.

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Why You Must Understand Phrasing

Even though most of our audience is made up of advanced or intermediate DJs, we get a lot of aspiring talent on the site every month who are hungry to learn. The fundamentals never get stale, so we will be rolling out a new “how to DJ” article every month for those that are just joining the ranks. Phrasing is one of the most important musical fundamentals out there, so let’s get started there.

Ever wonder how your favorite DJs are able to craft a seamless mix where the tracks seems to start/end at just the right time? It’s not luck,  but understanding the concept of good phrasing. Most Western music, especially electronic and pop music, is built using phrases of 16 and 32 counts. As you learn how to DJ, you’ll start to see that all forms of music follow a familiar structure. By recognizing this structure, you can take two totally different songs and make them sound as if they were designed to fit together.

If you’re looking for more intermediate tips on how to DJ, I’d recommend checking out the following articles first:

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Recognizing Phrases

Every song introduces audible change to the music that clue in the audience to the start/end of a phrase. Most people are affected by this sub consciously but you can learn how to read those clues like a pro.  Normally these changes would be a new instrument, a drum fill, or crash and it typically occurs every 32 counts. Before the days of DJ software, the only way to find the start/end of a phrase was to listen to the track and pay attention to these clues.

With DJ software we have a visual overview of the entire track thanks to the waveform. This makes it really easy to recognize the start/end of phrases such as breakdowns and buildups as pictured above. There are a couple other things in Traktor that we can use to find the start/end of phrases and part of the phrase we’re in. The first one is enabling “Beats” in the deck header. You can do this through Traktor’s Preferences:

The second thing we’ll do is set the “Bars Per Phase” to “8 Bars”:

Now that we’ve made these changes, you will see 3 numbers being displayed in you deck header:

These numbers indicate the phrase, bar, and beat (phrase . bar . beat). There are 4 beats in a bar, so the bar will increase by 1 every 4 beats. Since we set our “Bars per Phrase” to 8 bars, the phrase will increase by 1 every 8 bars. As discussed earlier, audible changes typically occur every 32 beats. Using this counter, you’re likely to hear an audible change every time the phrase increases by 1. This makes it really easy to stay on top of the tracks structure even while you’re browsing for the next track or if you’re distracted by someone making a request. Now that we can quickly identify the phrases of the track, we can create a seamless mix by lining up our tracks so that the phrases are in sync. (http://djtechtools.com/2014/11/16/how-to-dj-101-why-you-must-understand-phrasing/)

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Volume/Gain Control

A typical DJ mixer (as well as mixing software) contains a few types of volume control.

Firstly, each channel should have a gain or trim knob, which allows you to adjust the level of the signal (by watching your meters).  Then, each channel has a line fader (unless it’s a rotary mixer, in which case you will have a knob).

The line fader adjusts how much signal you’re sending to your main output, which also has its own overall volume control. Then, of course, there’s the crossfader which allows you to fade between one channel and another.

If you’re just learning how to mix and you don’t have any hardware yet, you can still control these things in software. Some programs, such as Traktor Pro, have an “auto-gain” feature. It gets you in the ballpark of where you want to be so that your levels match up when mixing one song into another.

Volume control is often a subject of debate. Traditionally, while watching meters… green is good, red is bad, yellow is pushing it.

Unfortunately, many companies adjusted the way their mixers work in such a way that it caters to bad habits. Since amateur DJs sometimes tend to slam everything “in the red”, company’s adjusted their products to compensate.

In addition, DJ software has its own gain structure. This can make things quite confusing.

Read your manual to better determine where you should be maxing out your signal.

When in doubt, staying in the green is just fine. If you need more volume, boost it on the amp/PA/house end… don’t distort your signal before it even gets there.

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The Critical Difference Between Gain and Volume

Image via Shutterstock

Let’s say you’re at a show or rehearsal and you turn to your amp, or perhaps your mixer, and you need to make something louder. You’ll more than likely be confronted by a set of knobs or maybe even a fader that might have any of the following labels: gain, trim, level, volume, master, or a similar moniker. So which one are you supposed to reach for and when?

The difference between gain and volume, in particular, confuses many people. As is my usual goal, I’ll hopefully help to clear things up a little for those of you who may not fully understand what each knob accomplishes.

Gain

In general and in its simplest form (I say that because sometimes these terms get somewhat misapplied in miscellaneous circumstances), gain is the parameter for the amount that some sort of amplifier circuit is going to increase the amplitude of an input signal (amplifier, amplitude… I think I see where this is going). Usually when you’re adjusting gain, you’re manipulating some sort of preamp and how it’s going to handle the incoming signal. Typically, gain is the control for what comes “in” to a piece of gear.

Volume

Volume level, or loudness, is typically manipulated by a knob or fader of some sort, and this affects the output headed from that channel of the mixer to whatever bus you’ve assigned it to, whether that’s a group, an aux send, or the master bus. In the case of your guitar or bass amp, it’s affecting the power amp level. Typically, volume is the control for what comes “out” of a piece of gear.

Relating the two

A simple and relatively visual way to think of these from a mixing perspective is that your gain is going to be your sensitivity. Need a mic to be more “sensitive”? Turn the gain up. That being said, this is usually a “set and forget” setting. If you’re mixing via the gain knob, you’re doing it wrong, save for making on-the-fly adjustments in the live environment. Your balancing and level control should be done via the faders or knobs assigned to that function.

Another reason to not ride your gain control is that as you increase the gain, your noise floor will increase with it. This is the audible noise of a signal, usually self noise of components in the signal chain. Ideally this noise floor will be below the threshold of hearing, but as you bring your gain up, this floor comes with it. When relating to amp settings, your gain or drive is going to control how hard that signal is hitting your preamp; this is where your “overdrive” will come from as you literally overdrive the preamp stage. This should be adjusted for tonal purposes, and then your level or volume control should be used to increase the level of the power amp to actually bring your signal to the volume desired. Again, doing this the other way around can bring unwanted noise into your signal.

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What about gain staging?

Another term that gets kicked around is “gain staging.” What does it mean? Why is it important? Gain staging is, in its basic form, making sure that the level of signal at each part in your signal chain is adjusted or “gained” appropriately. This is more important today in the digital age than ever before. With analog setups, overdriving the input gain often (but not always) results in that ever-so-sought-after “saturation” of the sound. (This is actually a form of distortion, but a pleasing one.) Digital is a cruel and unkind mistress; when you run out of bits to store data, the result is brutal, anharmonic clipping. While analog can be more forgiving to some extent, the practice of proper gain staging is just as critical as ever. Not enough gain earlier on in the chain, and you’ll have issues with your noise floor as that noise is amplified further and further down the line. Too much, and you’ll soon be living life in the red. This is another reason that you shouldn’t “ride” gains, whether you’re recording or mixing live: as you change gain at one part in the chain, it creates a sort of butterfly effect as you go down the line. Adjustments in perceived volume should always be made via the fader or assigned level control. (http://blog.sonicbids.com/the-critical-difference-between-gain-and-volume)

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EQing

Equalizing (EQing) is the act of boosting or dropping certain frequencies so that two tracks can blend together well. It is is an art in itself.

The majority of your “space” gets consumed by lower frequencies, especially in dance music. So, typically you won’t mix twoloud kick drums over one another, since they are simply too loud to combine.

A typical DJ mixer will have a three-band EQ (low, mid, and high…. or bass, midrange, and treble). Some mixers (such as higher-end Allen & Heath offerings) will include four bands: low, low-mid, mid-high, and high.

There is much to be said for proper equalization, both as a tool, and as a means of creative expression.

Equalization will not fix a bad mix, nor will it work miracles. We use it to surgically combine two or more audio signals, and to polish a well-chosen mixture into something worthy of an audience.(passionatedj.com/how-to-become-a-dj-ultimate-guide)

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The 7 Commandments of Equalization

  1. Be as subtle as possible with parametric EQs. The less, the better. A boost or cut of 3dB is a good starting point. The only exception to this rule is when using top quality analogue gear/desks and their software replicas. In this case, the colouration of the EQ is desired and you can turn those knobs all the way to 11.
  2. Don’t rely on EQ to change a sound after recording. Get a good sound in the recording phase.
  3. Cut, instead of boosting, where possible. Boosting frequencies will raise the volume of the instrument/vocal and start eating up headroom. Using cuts also forces you to be more strategic with EQ moves. If you want something to sound warmer, cut the highs instead of boosting the lows.
  4. EQ for a reason. EQ with purpose. Have a small goal that you want to achieve with every EQ move. If it doesn’t need EQ, don’t use it for the sake of it.
  5. Don’t apply EQ in solo. The listener will never hear the track in solo, so never mix in solo. An instrument that sounds awful on it’s own might sound great in the mix.
  6. You can be drastic with filters. Don’t be afraid to cut everything below 200Hz on a guitar or cut everything above 5kHz on a bass. It will give more room for the other instruments. If the guitar sounds too weak on it’s own in a different section, automate the filter to bring the bottom end back in.
  7. Use lots of small EQ changes rather than a few big ones. In my experience a good mix is the culmination of a hundred or more small moves, not ten heavy moves. (music.tutsplus.com/tutorials/eq-for-beginners-part-2-how-to-eq-absolutely-anything–cms-25652)

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Mastering these skills will take a lot of practice and practice might not make perfect but it will make help you to become better and more profitable. Or practice so that you might be good enough to help other beginners, and continue pursuing greatness.  Stay Focus, Passionate and Enthusiastic, and stay tuned for Next Week For: Do You Want To Be A DJ: A Weekly Series: Chapter Eight will be “Preparing For My First GiG!!!”     

 

 

Just Another Day In The Class Room Part Two

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How School Administration Should Curb The Violence”

Suggested Steps to Reinforce School Safety

There are a number of steps that administrators can take to reinforce the fact that schools are safe environments and increase student/adult comfort level following an event.

  • Write a letter to parents explaining the school safety policies and crisis prevention efforts and cite statistics that less than one percent of violent deaths are “school associated.”
  • Be a visible, welcoming presence at school, greeting students and parents and visiting classrooms.
  • Issue a press release about the school district efforts to maintain safe and caring schools through clear behavioral expectations, positive behavior interventions and supports, and crisis planning and preparedness.
  • Conduct a formal review of all school safety policies and procedures to ensure that emerging school safety issues are adequately covered in current school crisis plans and emergency response procedures. (Such reviews should be conducted at least annually.)
  • Review communication systems within the school district and with community responders. This should also address how and where parents will be informed in the event of an emergency.
  • Connect with community partners (emergency responders, area hospitals, victim’s assistance, etc.) to review emergency response plans and to discuss any short-term needs that may be obvious in response to the current crisis.
  • Provide crisis training and professional development for staff based upon needs assessment.
  • Highlight violence prevention programs and curriculum currently being taught in school. Emphasize the efforts of the school to teach students alternatives to violence including peaceful conflict resolution and positive interpersonal relationship skills. Cite specific examples such as Second Step Violence Prevention, bully proofing, or other positive interventions and behavioral supports.

School Violence Prevention Measures to Highlight

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Administrators can reinforce the importance of creating a caring school community in which adults and students respect and trust each other and all students feel connected, understand expectations, and receive the behavioral and mental health support they need. Messages to the community following a violent event can reassure parents and students about the safety of their schools. Here are some possible school violence prevention strategies that reinforce school safety:

Physical Safety.

  • There is limited access to school building, including a designated entrance with all other access points locked from the exterior.
  • Campus monitors patrol the school parking lot noting people entering and leaving the campus.
  • Staff members monitor and supervise areas such as hallways, cafeterias, and playgrounds.
  • School resource officers or security guards patrol the campus.
  • Guests must report to main office, sign in, and wear badges; and staff members are instructed to report unfamiliar people to school office.
  • These strategies are augmented by security systems (metal detectors, video monitoring, exit door alarm systems).

School-community partnerships.

  • A variety of school-community partnerships enhance the safety measures for our students beyond school property (Block Parents, police surveillance, Community Watch programs).

Crisis plans and preparedness training.

  • Building level teams regularly review crisis and emergency plans.
  • All staff members participate in annual training and simulation drills, including intruder alerts, weather and fire emergencies.
  • Teachers and other staff know how to respond to students’ questions and support them following a crisis. In addition, threat assessment and risk-assessment procedures are in place for teams.

Proactive school systems.

  • Our school provides school-wide behavioral expectations, caring school climate programs, positive interventions and supports, psychological and counseling services, and violence prevention programs such as bully-proofing, social skill development, and conflict mediation.
  • We promote compliance with school rules, and encourage students to report potential problems to school officials and resist peer pressure to act irresponsibly.

Participation by students.

  • We encourage students to take responsibility for their part in maintaining safe school environments, including student participation in safety planning. They, better than adults, know the hidden or less trafficked areas of the school that are more likely to be dangerous.
  • We have in place anonymous reporting systems (student hotlines, “suggestion” boxes, “tell an adult” campaigns).

What to Say to StudentsImage result for what to say

Talk with students and validate their feelings. Let their questions guide what and how much information to provide, be open to opportunities to talk when they are ready, be honest about your own feelings related to violence, and emphasize the positive things that child/family/school can do to stay safe. Be patient. Children and youth do not always talk about their feelings readily. Watch for clues that they may want to talk, such as hovering around while you do the dishes or yard work. Some children prefer writing, playing music, or doing an art project as an outlet. Young children may need concrete activities (such as drawing, looking at picture books, or imaginative play) to help them identify and express their feelings.
Be aware of signs that a student might be in distress, e.g., changes in behavior, anxiety, sleep problems, acting out, problems at school or with academic work. Also be conscious of media exposure and what you say about the event. Limit television viewing (be aware if the television is on in common areas).
Following are some suggested general key points when talking to students:

  • Schools are safe places. Our school staff works with local police and fire departments, emergency responders, and hospitals to keep you safe.
  • Our school is safe because….
  • We all play a role in the school safety. Be observant and let an adult know if you see or hear something that makes you feel uncomfortable, nervous or frightened.
  • There is a difference between reporting, tattling or gossiping. You can provide important information that may prevent harm either directly or anonymously by telling a trusted adult what you know or hear.
  • Although there is no absolute guarantee that something bad will never happen, it is important to understand the difference between the possibility of something happening and probability that it will affect you or our school.
  • Senseless violence is hard for everyone to understand. Doing things that you enjoy, sticking to your normal routine, and being with friends and family help make us feel better and keep us from worrying about the event.
  • Sometimes people do bad things that hurt others. They may be unable to handle their anger, under the influence of drugs or alcohol, or suffering from mental illness. Adults (parents, teachers, police officers, doctors, faith leaders) work very hard to get those people help and keep them from hurting others. It is important for all of us to know how to get help if we feel really upset or angry and to stay away from drugs and alcohol.
  • Stay away from guns and other weapons. Tell an adult if you know someone has a gun. Access to guns is one of the leading risk factors for deadly violence.
  • Violence is never a solution to personal problems. Students can be part of the positive solution by participating in anti-violence programs at school, learning conflict mediation skills, and seeking help from an adult if they or a peer is struggling with anger, depression, or other emotions they cannot control. (https://www.nasponline.org/resources-and-publications/resources/school-safety-and-crisis/school-violence-prevention/responding-to-school-violence-tips-for-administrators)

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In Conclusion
An article labeled: The Ugly Facts About Student Violence Against Teachers said: School violence is going to get worse. So if it’s going to get worse, then what are we as individual America’s going to do about The Violence? Because teacher are working is terrible condition, like soldiers in in a military zone, many are being diagnosed with PTSD:

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“The ongoing and escalating assault on primary- and secondary-school teachers is not a pretty sight. Holly Houston is a post-traumatic stress specialist. She counsels teachers in Chicago public schools and reported, “Of the teachers that I have counseled over the years who have been assaulted, 100 percent of them have satisfied diagnostic criteria for PTSD.” It’s not just big-city schoolteachers traumatized. Dr. Darlyne Nemeth, in Baton Rouge, Louisiana, said last year, “I have treated many teachers with PTSD, and I am currently following a few of them.” (http://www.bethepeopletv.com/the-ugly-facts-about-student-violence-against-teachers/)
“In a school district near St. Louis, teachers have had pepper spray and dog repellent sprayed in their faces. A Baltimore teacher had his jaw broken. In Baltimore, each school day in 2010, an average of four teachers and staff were assaulted. A 325-pound high-school student in Houston knocked out his 66-year-old female teacher (http://tinyurl.com/oqxmrfg). Nationally, an average of 1,175 teachers and staff were physically attacked each day of the 2011-12 school year.” (http://www.bethepeopletv.com/the-ugly-facts-about-student-violence-against-teachers/)
We have to find a solution to this problem because our teacher, students, and society lives depend on it!!!

Music: Defined, Explained, Listened To, and Understood Part II

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3. OUR MUSIC CHOICES CAN PREDICT OUR PERSONALITY

Take this one with a grain of salt, because it’s only been tested on young adults (that I know of), but it’s still really interesting.
In a study of couples who spent time getting to know each other, looking at each other’s top 10 favorite songs actually provided fairly reliable predictions as to the listener’s personality traits.
The study used five personality traits for the test: openness to experience, extraversion, agreeableness, conscientiousness, and emotional stability.
Interestingly, some traits were more accurately predicted based on the person’s listening habits than others. For instance, openness to experience, extraversion, and emotional stability were the easiest to guess correctly. Conscientiousness, on the other hand, wasn’t obvious based on musical taste.
Here is also a break-down of how the different genres correspond to our personality, according to a study conducted at Heriot-Watt University:

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Click to expand:
To break it down, here is the connection they have found:

  • Blues fans have high self-esteem, are creative, outgoing, gentle and at ease
  • Jazz fans have high self-esteem, are creative, outgoing and at ease
  • Classical music fans have high self-esteem, are creative, introvert and at ease
  • Rap fans have high self-esteem and are outgoing
  • Opera fans have high self-esteem, are creative and gentle
  • Country and western fans are hardworking and outgoing
  • Reggae fans have high self-esteem, are creative, not hardworking, outgoing, gentle and at ease
  • Dance fans are creative and outgoing but not gentle
  • Indie fans have low self-esteem, are creative, not hard working, and not gentle
  • Bollywood fans are creative and outgoing
  • Rock/heavy metal fans have low self-esteem, are creative, not hard-working, not outgoing, gentle, and at ease
  • Chart pop fans have high self-esteem, are hardworking, outgoing and gentle, but are not creative and not at ease
  • Soul fans have high self-esteem, are creative, outgoing, gentle, and at ease

Of course, generalizing based on this study is very hard. However looking at the science of introverts and extroverts, there is some clear overlap.

4. MUSIC CAN SIGNIFICANTLY DISTRACT US WHILE DRIVING (CONTRARY TO COMMON BELIEF)

Another study done on teenagers and young adults focused on how their driving is affected by music.
Drivers were tested while listening to their own choice of music, silence or “safe” music choices provided by the researchers. Of course, their own music was preferred, but it also proved to be more distracting: drivers made more mistakes and drove more aggressively when listening to their own choice of music.
Even more surprising: music provided by the researchers proved to be more beneficial than no music at all. It seems that unfamiliar, or uninteresting, music is best for safe driving.

5. MUSIC TRAINING CAN SIGNIFICANTLY IMPROVE OUR MOTOR AND REASONING SKILLS

We generally assume that learning a musical instrument can be beneficial for kids, but it’s actually useful in more ways than we might expect. One study showed that children who had three years or more musical instrument training performed better than those who didn’t learn an instrument in auditory discrimination abilities and fine motor skills.

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They also tested better on vocabulary and nonverbal reasoning skills, which involve understanding and analyzing visual information, such as identifying relationships, similarities and differences between shapes and patterns.
These two areas in particular are quite removed from musical training as we imagine it, so it’s fascinating to see how learning to play an instrument can help kids develop such a wide variety of important skills.
Similar research shows this correlation for exercise and motor skills in the same way, which is also fascinating.

6. CLASSICAL MUSIC CAN IMPROVE VISUAL ATTENTION

It’s not just kids that can benefit from musical training or exposure. Stroke patients in one small study showed improved visual attention while listening to classical music.
The study also tried white noise and silence to compare the results, and found that, like the driving study mentioned earlier, silence resulted in the worst scores.
Because this study was so small, the conclusions need to be explored further for validation, but I find it really interesting how music and noise can affect our other senses and abilities–in this case, vision.

7. ONE-SIDED PHONE CALLS ARE MORE DISTRACTING THAN NORMAL CONVERSATIONS

Another study focused on noise, rather than music, showed that when it comes to being distracted by the conversations of others, phone calls where we can only hear one side of the conversation are the worst offenders.
After a survey showed that up to 82% of people find overhearing cell phone conversations annoying, Veronica Galván, a cognitive psychologist at the University of San Diego, decided to study why these are such a pain.
In the study, participants completed word puzzles while one half of them overheard one side of a mundane phone conversation in the background. The other half of the volunteers heard the entire conversation as it took place between two people in the room.
Those who heard the one-sided phone conversation found it more distracting than those who heard both people speaking. They also remembered more of the conversation, showing that it had grabbed their attention more than those who heard both sides and didn’t remember as much of the discussion.
The unpredictability of a one-sided conversation seems to be the cause of it grabbing our attention more. Hearing both sides of a conversation, on the other hand, gives us more context which makes it easier to tune out the distraction.
Then again, as we’ve explored before, getting distracted is often not such a bad things for various reasons.

8. MUSIC HELPS US EXERCISE

Back to music again, and we can see that just like silence doesn’t help us to be more creative or better drivers, it’s not much use when we’re exercising, either.
Research on the effects of music during exercise has been done for years. In 1911, an American researcher, Leonard Ayres, found that cyclists pedaled faster while listening to music than they did in silence.
This happens because listening to music can drown out our brain’s cries of fatigue. As our body realizes we’re tired and wants to stop exercising, it sends signals to the brain to stop for a break. Listening to music competes for our brain’s attention, and can help us to override those signals of fatigue, though this is mostly beneficial for low- and moderate-intensity exercise. During high-intensity exercise, music isn’t as powerful at pulling our brain’s attention away from the pain of the workout.
Not only can we push through the pain to exercise longer and harder when we listen to music, but it can actually help us to use our energy more efficiently. A 2012 study showed that cyclists who listened to music required 7% less oxygen to do the same work as those who cycled in silence.
Some recent research has shown that there’s a ceiling effect on music at around 145 bpm, where anything higher doesn’t seem to add much motivation, so keep that in mind when choosing your workout playlist. Here is how this breaks down for different genres:

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Now if we team up these different “tempos” with the actual work-out we’re doing, we can be in much better sync and find the right beat for our exercise. If you match up the above with the graphic below it should be super easy to get into a good groove:

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So in the same way that exercising makes us happier, it’s not surprising that music adds significantly to our work-out success.
What have you noticed about how music affects you? Let us know in the comments.
—Belle Beth Cooper is a Content Crafter at Buffer and cofounder of Hello Code. Follow her on Twitter at @BelleBethCooper.

In Conclusion:

This Explanation By John T. Helman: What is the true meaning of ‘music’? say it all:

True music is that which elicits strong emotional states of mind. These feelings can be enjoyed or suffered. I once thought that classical music was for the older educated individual. But since putting aside prejudices and really hearing and falling into it. I now have classical offerings on my playlists. My tastes can only be described as Broad. Catholic is a better label. I wish popular culture music gets back down to what music should be. Not the simplistic form that it’s been distorted into to suit the record makers. The true inventiveness the likes of Abba for example or the Beatles. Because I prefer to spend more social time with the younger generation I get to have had exposure to their music too….(John T Helman, former Now Active Skooter Tramp)

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Week 6: How To Download  Music To Your Software, The Easy Way!!!   

Adding Music Files To Serato Library:

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The easiest way to load music from your computer into your library is by using the Files button.

  1. Click on the FILES button to open the files panel. The left side of this window displays various locations on your computer hard drive (and external drives if you have one). Click on these locations to navigate your computer and find your music. By default, your music will usually be found in either “Music”(Mac) or “My Music”(Windows).
  2. Once you have located your music, drag the folder or files you want to import onto the purple “All…” icon. This is located to the left of your screen at the top of the crates and playlist window. If you wish to import all of your music, just drag your whole music folder onto this icon. This will import any compatible file contained in this master folder from your hard drive into the Serato DJ Library.

TIP: You can also import by dragging files and folders directly from Windows Explorer (PC version) or Finder (Mac version) into the Serato DJ library. Loading a file to either deck from the files panel will automatically add it to your library.

TIP: Dragging a folder into the crates view will instantly create a crate.

How To Get Free Music For Serato DJ From WhiteLable.Net

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LOG IN

Whitelabel.net provides Serato DJ users a legal way to access to record label’s promotional releases, absolutely free! The site allows DJs to preview and download music in a “Serato DJ ready” format.
By being a Serato DJ user, you are now part of the network that delivers crates full of goodness. With Whitelabel.net, you’re instantly on the promo list for the latest tracks from some of the best labels in the business.
Simply go to http://whitelabel.net/ and log in, using the same email and password you used to start your Serato DJ trial with/login to Serato.com with.

DOWNLOAD TRACKS

On the Whitelabel.net home page, you will see the latest releases and the top 10 weekly/monthly downloads. If you scroll to the bottom of the page, you can also browse by popular genres and artists.
When you have selected a track, you can click on the play button to launch a preview window, or download the file, on the left hand side.
The file should then download to your browsers default download location.

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PLAY BANGERS

Import your whitelabel.net files into Serato DJ like you would any audio files, either drag and drop the files into a crate, or use the files panel inside Serato DJ. For more information on using the files panel to import files, click here.
The Whitelabel.net audio files (wl.mp3 files), play as high quality 320kbps audio in Serato DJ when your Serato DJ controller is connected. In the Serato DJ offline player and all other media players, the files will play as low quality 32kbps audio.
Whitelabel.net audio files will appear in your library showing a Whitelabel icon.
If you wish to know more about Serato Whitelabel.net click here.

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How-to Setup iTunes for DJ Software

This Article is designed to help you setup iTunes properly before building and organizing your Music Library within the iTunes application.
Note: When using DJ software applications, 3rd party programs such as iTunes are not necessarily the best or most reliable way to organize your music Library collection.

Ready set go

Open iTunes -> Click iTunes Tab in the top left corner -> Select Preferences -> Go to Advanced Tab. On a Windows Machine you will need to click on the “Edit” tab to access iTunes’ Preferences.

  • Uncheck “Keep iTunes Media Folder Organized”.

*Turning off this option will stop iTunes from moving your audio files around. This will avoid missing files from showing up within your DJ program, since they will no longer be shifted around by iTunes.

  • Uncheck “Copy Files to iTunes Media Folder when adding to Library”

*Turning off this option will prevent duplicates of your audio files being created when importing music into iTunes. Having this option ON may result in doubles within your DJ program and eat up unnecessary space on your computer’s internal drive. You should only have this option checked when you are 100% sure you would like iTunes to create copies of all the music you drag into the iTunes Library.

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  • Click on the Playback Tab within the iTunes Preferences window.
  • Uncheck the “Sound Check” option.

*This can cause songs to distort or overdrive the DJ program you’re using. Use the deck gains within your virtual decks to adjust playback level. Most DJ programs remember the individual gain setting for each song loaded and adjusted.

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  • Click on the General Tab.
  • Uncheck any of the Playlist Options under the “Library Name” section in this Tab. This will hide all of the unwanted/unused Playlist in iTunes and DJ software you’re using, such as, Podcast , TV Shows, Radio Lists, etc.(http://dj.rane.com)

Or you can just download Djay Pro for PC’s and Djay Pro 2 for Mac to do everything for you automatically: from download and organize from any music site in the world, to mixing the music for you after it’s downloaded, hands free. Wow this is revolutionary and as the older DJ’s say: “It’s About Time!!!”
Algoriddim’s next generation of its DJ software, Djay Pro 2, has just been released, available for macOS. The program, meant for both amateur and professional DJs, allows users to mix music entirely within the app, or use in conjunction with external hardware for performing, the way Traktor and other DJ apps are used.
The few things that prevented Djay Pro from being true crossover professional software have now been added with the new version. Djay Pro 2 comes with, among other changes, a revamped user interface and an advanced library management system that make the app more nimble to use for those with large libraries of music.
Much of what users love about the first version of Djay Pro remains intact. The app integrates with your Spotify Premium account, meaning you can instantly DJ using any song found on Spotify at 320kbps. You can even pull curated playlists to find music by mood and genre. It can also pull playlists from your iTunes library, or can be directed to source music stored anywhere on your computer or other connected devices. It’s also carried over functions like the ability to record your mixed output, transpose a song’s key or sort by song key, apply audio effects like a bit crusher or echo, and set loops and cue points.

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  • Click on “Import Settings”
  • Select to Import Using your preferred Audio Format (Most common is MP3)

*Just this Setting to the highest quality available. You may want to enter the Custom Setting option to select the highest quality possible. 320Kbps is best for MP3 Audio.
Click OK.
You’re finished!
You can now close the iTunes Preferences Window. That’s it!
There are many other music downloads online site and on your particular chosen software, that you are choosing to use. So read and follow you particular software download instruction that can be found within your manual. Also remember you can be further assisted by the helpful customer service, technical support, YouTube, google, and if all else fails, the person I talked about in week four, Your newly found DJ friend. They will truly come in hand in some of the strangest places and times. Continue next week as we explore: Week Seven: Learning The Four Basic Skills For DJing (Beat Matching, Phrasing,Volume and Gain Control, and EQing. Stay Passionate and keep your Enthusiasm.

Just Another Day In The Class Room Part One

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The School parking lot was silent, When English Teacher, Mary Johnson arrived at “Denmark High Schools.” The silents was that it was six o’clock am, and most teacher won’t be at school for about two hours and student won’t arrive until around eight. Mary came early because she had to finish grading the papers, that her children and husband wouldn’t allow her to finish last night. So in the quiet of the morning she pulled out her exam papers and started reading, half way through she got up and poured a cup of coffee that was brewing on her timed coffee maker, she remember she got it on sale for thirty-four dollars, the original price was sixty-six dollar, smiling to herself and thinking “what a deal!!!”
While drinking her third cup of coffee and finishing her second to last paper she hears a sound, its faint, maybe a couple of rooms over from hers, it wasn’t nothing to be alarmed at, so she continued to work, thinking to herself that was one of her colleagues.

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Then she heard her door open, and she “yelled” “HELLO?” No one answers and then a image appeared in front of her, She thought she noticed the person and said “Johnny?” he was a rather small for his age student, in one of her classes, “maybe second period english?” She said to herself, he was sixteen. He answer “yes” and continued with “What you doing Mrs Johnson?” She asked her own question while glancing at the clock, realizing the time: “What are you doing at school at this time?” “It’s only six-thirty,” and Why are you not in the cafeteria, getting ready for breakfast?” He responded “I was going there and then I saw your car in the parking lot so I thought I would come back to your class and talk to you about my grade.” He continued, “I know I’m not doing really well in English, and wondered if my final grade was good enough for me to pass.” Mary responded, “Well I’m actually not finished with all the papers, but I can say you have a comfortable “C” going into the exam.” She ended with “Is that all I can help you with?”

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His turned with a chilling red look on his face and said “No, That Not All You Can Help Me With,Mrs Johnson.” and proceeded to climb across the desk after her, she started to scream, and Johnny said in a fear invoking matter-a-fact voice. “I checked all the classrooms before I got here Mrs Johnson, and It’s only you and I in the entire building.” She yelled anyway, Hoping someone came early, like she did and could hear her. That’s when he grabbed her and covered her mouth and said:”I won’t hurt you, I’m just going to “tie you up” so that I can use your room to bring in all my things in to shoot up the school.” She continued to yell, that’s when he took a paperweight from her desk and knocked her out.

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She woke up to a loud “BOOM” and gunfire, as she slowly regained consciousness, and realized she was in the coat closet, then she heard screaming and hollering, people running and bumping the closet, as she started to scream again and noticing a rag or something tied around her mouth muffling the sound.
She continued trying to scream anyway, and then it happened, someone came to the door of the closet and tried to climb in and stomped on her in their hast. As they tried to settle themselves, they realized that they weren’t in the closet alone, they was stepping on something and felt around and noticed if it was another person. That’s when Mrs Johnson yelled over the muffling as loud as she could, then the person reached down and took off the mouth gage.

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Mary yelled “What’s going on??? Then she notice it was one of colleagues, Joe Matheson, saying: “Oh Thank God Mary, We thought you were dead, we saw your car in the parking lot and didn’t see you.” She replied: “Joe he came to me this morning as I was finishing my papers, talking about his grade, before I knew it I was knocked-out, gagged, and put in this closet.” She asked again, “What’s going on???” He spoke fast because he didn’t know if the attack was over and or they had to find another place to hide. Mary mouth never closed as he spoke of all the horror, carnage, and murderous rampage, Johnny had caused in the 3 hours she was knocked-out. This is fictional but it happens this way everyday at some school in America. Violence school shooting and violence against against teacher, just this week in Akron, Ohio.

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In Akron, Ohio this week, 22 Teachers and Staff, have been attack violently by student, it was so bad that Monday the teacher organized A “Safe Schools Rally” trying to combat this rise in violence. Here’s a actual teacher telling about his personal encounter with the up rise violence in Akron Public Schools: “Keith Rawling thought it was over. The 39-year-old English teacher at East High School in Akron believed he had diffuse a violent situation in his classroom, up until the point where he was suddenly hoisted off his feet and body-slammed to the ground by a 15-year-old student. According to an Akron police report, the 10th grader, who was not part of Rawling’s class, entered the room screaming vulgarities and wrestled with another student over a hairbrush.
Rawling got in between the teens and was verbally threatened by the aggressive student. The report states the student first yelled at Rawling, “F*** your dumb a**” and moments later said, “I’ll beat the f*** out of you.” Still, the veteran teacher managed to get the boy out of the classroom.
The teacher’s back was turned to the student as he walked back into his room to call security.
“Out of nowhere, I was off my feet and to the ground within two seconds. It was very scary,” Rawling told News 5. “He very aggressively picked me up and slammed me on the ground.”
This is not just a Akron,Ohio problem, or a American problem According to Canadian New:

Violence against teachers by students is turning into a bona fide workplace hazard

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“It was once considered a highly remote risk. But now, incidents of violence by students against teachers has exploded into a bona fide workplace hazard, one that my profession seems to be witnessing — and worse, tolerating — with alarming frequency.
Just how often it is happening?
A survey by my provincial union, the Ontario English Catholic Teachers Association, found that 60 percent of teachers (both elementary and secondary) have personally experienced violence on the job.
A disturbing 70 percent of teachers (myself included) have witnessed acts of violence in the school. Weapons were involved in 15 percent of these attacks, which included classroom objects (76 per cent) and knives (22 per cent).”

Another Dimension To The Problem

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There is another dimension to the problem here — one that my fellow teachers need to both take ownership of and work to tackle as part of our defensive strategy against violence.
That is: way too many teachers show an endemic reluctance to report and follow up on incidents of violence and harassment that they are made to endure. Compounding the problem is that many principals end up encouraging teachers who do come forward to “let it go” or “forgive.” According to the aforementioned survey, nearly 25 percent of teachers who experienced violence were told not to report the incident to police. Even worse, teachers are sometimes made to feel that they might have brought it on themselves.

Educators have an absolute duty to document and report violent incidents in the school. But when it comes to violence by students against teachers, the demand for justice seems to enter a moral maze of rationalizing guilt and uncertainty.
The principal who might respond with pathological zeal to any form of attack or harassment against a student will often hesitate and mitigate when a student attacks a teacher. That’s because actively supporting and protecting the teacher could mean an ongoing legal problem for the principal. It seems today’s principals would rather leave the problem in the teachers’ hands, even if that means they suffer in silence. Indeed, the disciplinary brick wall that was once the principal’s office is now not much more than a speed bump.
But while administrators deserve some of the blame, there is also the absurdly illogical sense of sacrifice, submission and self-guilt that way too many teachers feel when they experience violence in the classroom.

Reluctance to report

Certainly no teacher would fail to call the police or press charges should he or she be on the receiving end of a violent encounter with a child or teen anywhere outside of the school. But place that same encounter within the confines of the school, and many of the same teachers become fearful and reluctant to report the incident.
The excuses are many, but some of the most common ones I have heard include knowledge or hearsay that the student is going through a difficult time at home. Another consideration that seems to give violent students de-facto immunity is a diagnosis of a learning disability such as oppositional defiance disorder or attention deficit and hyperactivity disorder. Finally, some teachers worry that by pressing charges and reporting the incident to police, they will somehow ruin all possible chances for the student’s future success at college or university.
In a statement on violence in the classroom, the British Columbia Teachers Federation affirmed that “often teachers are reluctant to assert their rights to work in a safe environment” and that “those who teach violent young students are embarrassed to admit that five and six year olds have hurt them.”

APA Assessment of Public School Violence:

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According to a recent article published by the American Psychological Association (APA), 80 percent of teachers surveyed were victimized at school at least once in the current school year or prior year. Violence against teachers is a “national crisis,” says Dr. Dorothy Espelage of the University of Illinois at Urbana-Champaign, who served as chair of the APA task force on Classroom Violence Directed at Teachers. And yet, the issue is generally ignored or at least underreported by the media and given inadequate attention by scholars – a deficiency that has widespread implications for school safety, the teaching profession and student learning.

The APA article was based on a survey – one of the few national studies – conducted in 2011 that solicited anonymous responses from almost 3,000 K-12 teachers in 48 states (NEA assisted APA by distributing the survey to its members).

NEA Today recently spoke with Dr. Espelage about the tasks force’s findings and recommendations and how addressing teacher victimization must be a component of any comprehensive school safety plan.

What kinds of attacks are teachers facing?

About half of the teachers who reported being victimized experienced harassment. Others reported property offenses, including theft and damage to property. And about one-quarter of these teachers experienced physical attacks. Harassment includes anything from obscene gestures, verbal threats and intimidation and obscene remarks. With physical offenses, teachers widely reported objects being thrown at them and being physically attacked. The most severe and uncommon cases are physical attacks that result in a visit to the doctor.

In your work with the task force, what did you find out that might surprise people about violence against teachers?

A big surprise was the general scarcity of research out there about the victimization of teachers in the workplace. When the APA asked me as head the task force to conduct a survey, I assumed a lot of research was out there, but it wasn’t. It’s 2013 and there have been only 14 studies conducted internationally. It’s a very under reported problem.

So if you have an area that isn’t being studied thoroughly, it will never come to the attention of the public. And that won’t translate into better pre-service training, professional development for teachers, more support from administrators and other measures that can be taken to address the issue.

Any comprehensive examination of school violence must include violence directed at teachers. Focusing solely on student victimization to the exclusion of teacher victimization results in an inadequate representation of safety issues, which makes it more difficult to formulate effective solutions.

What people also should know is that we’re not just talking about students attacking or harassing teachers. Students are not always the perpetrators. We heard about incidents of adult-on-adult incidents – including parents and colleagues. What we found is that a physical attack was more likely to come from a parent as opposed to a student. (http://neatoday.org/2013/02/19/violence-against-teachers-an-overlooked-crisis-2/)

Music: Defined, Explained, Listened To, and Understood Part I

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As a child I was exposed to music early, my father played several instruments, they ranged from the beautiful melodic tones of the guitar, to the harmonic and diatonic music of the harmonica. Day and night I would hear music in my house as my father would play, than later my mother and finally from the box in the corner of the house, which played all different people and groups around the world called the radio.
As I said earlier, music was Huge in my family, and as I go older I found out that It would become one of the focus points of: dating, the military, parties, college, and my day to day going from here to there. Music for a while had dominated my life, thinking back I can remember all the songs that I had with every: relationship, every breakup, every job I had, and every job i lost. One of the crazy things about music is that, I don’t remember when I let it go and just allowed other thing to take its place. I allowed: family , relationships, child development moments, being a father, church and its duties, among other things take away it beautiful domination. So in my middle age, finally going back it’s not like reuniting with an old friend, it is like finding a old friend and he or she had changed for the best!!!
My reunion started this Christmas or This Holiday Season as my children got older and moved away, I realized, I don’t have to buy so many presents, I can use some money and focus on me.

I realized that I need to do something that I haven’t done in a long time. You see, for years while my kids were young and growing, I would hope for my kids to buy me the present that I wanted, as I did for them, but as with any Idea of hope, no matter how many hints you give someone, no one knows what you want and the way want it, only you know what you want that way. So this year I realized that I should think about me for a change and buy me “the gift that I wanted.”

I thought long and hard and while watching a movie and it hit me, I want to find a way to put all the music that I have ever love, in a place where I can listen to it anytime I wanted. So I thought and thought: “Should I download music and make a file and call it “my favorite music?”, Should I go the youtube and make a favorite file? Then I said to myself, “How about buying DJ equipment, learn to be a DJ? That will do two things, download my music, and develop a skill at the same time.

As I started going through the process of learning about djing: buying equipment, buying software, looking for lighting,and downloading music, and creating a blog. Slowly as I listened and learned, I realized that I found a glimmer of a friend lost long ago, hidden away in my world of living and doing my friend called “The Love Of Music.”

The actually love of music, new and old music, not just looking back at the old stuff that I grow up with and nostalgically reminiscing, but the love of new stars, new genres, and new creativity of artist. I felt like I said earlier meeting up with a old friend and realizing that he or she has changed for the better and it’s got so go That I wrote this blog about Music, Called “Music. Defined, Explained, Listened To And Understood. To give the reader an idea of the the history, the flow and personality, the psychology, the diversity and variety , of music and lastly the effect music has on us.

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What is Music
Music is much more than mere entertainment. It has been a feature of every known human society—anthropologists and sociologists have yet to find a single culture throughout the course of human history that has not had music. In fact, many evolutionary psychologists today make the argument that music predated language. Primitive tribes and religious practices have used music to reach enlightened states for thousands of years, and Pythagoras used music to heal different psychological and physical ailments. Currently, cutting-edge scientific research has shown the effect that music has on the brain, the individual, and society.
Not only does music reach us on intellectual, social, and emotional levels, but many describe it as spiritual or mystical. The use of melodic, harmonic, and rhythmic devices in music can induce a psychological state in both the musicians and the listener that is beyond words to describe. Music can bring us back to ourselves, be our mirror, and show us a side of us we may have long forgotten or never knew existed.
Even though we are constantly exposed music in our daily lives, we rarely stop to actually think about what it is. After all, what exactly is music?
Fundamentally, music is a combination of sounds, and sound is vibration. One of the most succinct definitions of music comes from the Italian composer Ferruccio Busoni, who said that, “Music is sonorous air.” It’s extraordinary to think that a simple vibration unseen by the human eye can facilitate a deeply rich emotional experience, alter perception and consciousness, and induce ecstatic states of being. (PsychologyToday.com)

Essential Elements Of Music

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(Music is created by a flowing composition of melody, harmony and rhythm.)

What is melody?

Melody is the “singable” flow of sound. It is the “main voice” that stands out from everything else.

What is harmony?

The overlapping notes that serve as a base to the melody are the harmony. For example, a person playing the guitar and singing is making harmony with the chords in the guitar and creating the melody with his/her voice. Chords are an overlap of many notes that complement the melody and are called the harmony. We will examine chords later.
Observation: The melody is not necessarily composed by only one voice. It is possible to have two or more voices, although this situation is less frequent. To better understand the relationship between melody and harmony, think of a ship moving across the ocean. The ship (the harmony) serves as the base and support for the people, (the melody). Together, they both get safely and pleasurably across the water.

What is rhythm?

Rhythm is the beat of time through the music. Just as the watch marks hours, the rhythm leads us at a certain pace through the song.
Each one of these subjects will be studied individually. A deeper knowledge of all the resources available to create music allows us the luxury of unlimited manipulation in creating the “sound” and “silent” flow of sound that is interesting to our ears. Here in Simplifying Theory you will learn how to understand the tools you need to create the music you feel inside you! (http://www.simplifyingtheory.com/what-is-music/)
Why Do We Listen To Music

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Music grabs our emotions instantly in a way few other art-forms can manage. It engages us on all sorts of different levels. A few bars of a song can take us back decades, to a different time and place.

Top Six Psychological Reasons We Love Music

(www.spring.org.uk/2011/05/the-all-time-top-six-reasons-we-love-music.php)

1. Positive mood management

Right up at the top of the charts is positive mood management. This is rated people’s most important reason for listening to music: making our good moods even better. It entertains us, relaxes us and sets the right emotional tone.
Music makes us more hopeful, even after things go wrong for us. In one study by Ziv et al. (2011) participants were falsely told they’d done badly on a task. Those who were played some positive music afterwards, were more hopeful about the future than those left in silence.

2= Diversion

Also coming in at number two is diversion. Music relieves the boredom of the commute, or of a lazy Sunday afternoon. It’s something to do when we don’t know what else to do.
A word of warning though: don’t use background music while you’re trying to do something complicated. Research shows that it reduces performance on standard cognitive tests (Cassidy & MacDonald, 2007). Music is a distraction and this research found that the most distracting type is depressing music.
3= Negative mood management
Tying for the second spot is negative mood management. When we’re in a bad mood, music can help us deal with it. When your mood is low, there is something cathartic about listening to sad music. Somehow it helps to know that you’re not alone. We use music to relieve tension, express our feelings and escape the realities of everyday life.
Music certainly seems to help us cope with life’s slings and arrows. There have been many studies on those about to undergo painful medical procedures. These find that music helps people get through this stressful and anxious time (e.g. Good et al., 2002).

4. Interpersonal relationships

The fourth most important function of music is its social dimension. Music is a point of conversation. We listen to it while we’re with other people and we talk to them about it. It’s a way of making a connection.
There’s little doubt that music and love are inextricably linked and we use one to get the other. One study tested whether exposure to romantic music makes a woman more likely to agree to a date Gueguen et al. (2010). The answer is, emphatically, yes. The percentage of women who agreed to a date almost doubled from 28% to 52% after they had been played some romantic music.
The song that did the trick? “Je l’aime à mourir” (I love her to death) by Francis Cabrel (the research was conducted in France).

5. Personal identity

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In at five is identity. The type of music we like expresses something about ourselves. Even the broadest genres like rock, classical and blues begin to give us a picture of a person. We also seem to discover ourselves through music: it can teach is who we are and where we belong. Through music we can build up and project an image of ourselves.
One general trend in popular music is towards greater narcissism. A study has examined the lyrics of the top 10 songs in the U.S. between 1980 and 2007 (DeWall et al., 2011). This found that lyrics related to antisocial behaviour and self-focus increased over the period. On the other hand, over the same time, lyrics related to positive emotions, social interaction and a focus on others have decreased.

6. To learn about others and the world

Languishing down at number six was the way in which music teaches us about the world. Music tells us stories about other people and places and it gives us access to new experiences. Music can teach us how other people think and even suggest how we might live.
Psychological research backs up the importance of the information music sends out to others about our personalities. In one study participants could broadly judge another’s personality solely on the basis of their top 10 songs (see: personality in your mp3 player).
Music is also sending us a message about the state of the world. Dodds and Danforth (2009) downloaded the lyrics to almost 250,000 songs composed between 1960 and 2007. They found the lyrics got steadily more depressing up until 1985 and then levelled off around 1990. This decline was seen across all musical genres.

How Music Affects Us
How it really affects our brains and bodies. Since music is such a big part of our lives, I thought it would be interesting and useful to have a look at some of the ways we react to it without even realizing.
“Without music, life would be a mistake” –Friedrich Nietzsche
Of course, music affects many different areas of the brain, as you can see in the image below, so we’re only scratching the surface with this post, but let’s jump in.

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1. HAPPY/SAD MUSIC AFFECTS HOW WE SEE NEUTRAL FACES:

We can usually pick if a piece of music is particularly happy or sad, but this isn’t just a subjective idea that comes from how it makes us feel. In fact, our brains actually respond differently to happy and sad music.
Even short pieces of happy or sad music can affect us. One study showed that after hearing a short piece of music, participants were more likely to interpret a neutral expression as happy or sad, to match the tone of the music they heard. This also happened with other facial expressions, but was most notable for those that were close to neutral.
Something else that’s really interesting about how our emotions are affected by music is that there are two kind of emotions related to music: perceived emotions and felt emotions.
This means that sometimes we can understand the emotions of a piece of music without actually feeling them, which explains why some of us find listening to sad music enjoyable, rather than depressing.
Unlike in real life situations, we don’t feel any real threat or danger when listening to music, so we can perceive the related emotions without truly feeling them–almost like vicarious emotions.

2. AMBIENT NOISE CAN IMPROVE CREATIVITY

We all like to pump up the tunes when we’re powering through our to-do lists, right? But when it comes to creative work, loud music may not be the best option.
It turns out that a moderate noise level is the sweet spot for creativity. Even more than low noise levels, ambient noise apparently gets our creative juices flowing, and doesn’t put us off the way high levels of noise do.
The way this works is that moderate noise levels increase processing difficulty which promotes abstract processing, leading to higher creativity. In other words, when we struggle (just enough) to process things as we normally would, we resort to more creative approaches.
In high noise levels, however, our creative thinking is impaired because we’re overwhelmed and struggle to process information efficiently.
This is very similar to how temperature and lighting can affect our productivity, were paradoxically a slightly more crowded place can be beneficial.

Continue In Part II February 21ST

Do You Want To Be A DJ, A Weekly Series “Week Five: Continuing To Get Music: Shares”

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Shares are sites you join and pay per month, and you can chat and download for your fee the current and older: Music and Video downloads.

 

KEEP IN MIND:The best way to MAKE A STRONG PICK is: Pick some sites that have your genre, then read:what else the site offer, if that’s good make sure you have the place or equipment to download to. Happy Hunting!!!      

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One or more record pool subscriptions can be essential to many modern club DJs. Record pools can help to streamline the search for new tunes and broaden one’s musical horizons, while being far more cost-effective than purchasing each record individually. In this feature, contributing writer Tom Hricik reviews five common DJ record pools.

What Are DJ Record Pools Good For? 

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For many working DJs, purchasing every single record they might need to play is out of the question. With an ever-changing landscape of singles, remixes, bootlegs, and custom edits to choose from, having a simple, hassle-free service to help DJs find the records they need at a price they can afford can be a godsend.

Enter the record pool, defined as:

“…a regionalized and centralized method of music distribution that allows DJs to receive promotional music to play in nightclubs.”

DJ TechTools’ last round-up review of record pools was published over three years ago. Since then, there’ve been changes and new pools added – so today we’re looking at five unique pools that have a strong presence at the start of 2017.

The Pools

  • DJCity: An often-discussed record pool used by working DJs, DJCity features a trendy, diverse selection of the latest and greatest new records released.
  • Club Killers: With a heavy emphasis on the club atmosphere, this pool has an extensive video library, custom-curated playlists, and a team of editors to keep your crates fresh.
  • Direct Music Service: DMS and its team of 15 editors offer the largest back catalogue of music of the five pools reviewed here, while also adding essential new tunes that many DJs need each week.
  • POOL by Promo Only: Using a unique desktop client, POOL by Promo Only serves club, radio and mobile DJs an incredible variety of both audio and video content at a price nearly any DJ can afford.
  • Live DJ Service: Although offering less content overall than the other pools mentioned, LDS is a specialty service offering Benzi’s personal picks of modern club music of all genres.

Editor’s note: there are other DJ pools out there – these five were chosen for their relative popularity among club DJs. Other great pools reviewed on DJTT recently include:

DJCityImage result for dj city

  • Website: www.djcity.com
  • Price: $90 for three months.
  • What’s Great?: A sizable amount of trendy, diverse, DJ ready originals and remixes at your fingertips.
  • What Needs Improvement?: Characters are typically changed in dirty song titles (e.g. “We Want Some P#ssy”).

For many DJs who never had the chance to be involved in a vinyl record pool, DJCity was the first foray into the world of record pools – and for good reason. The pool offers some of the newest, freshest tracks available at a price that’s easy on the budget.

You won’t come to this site to build a collection of early 90’s Hip Hop, or to quickly download a request for a redrum of Frank Sinatra, but for anyone looking to add an extremely club-relevant flair to their sets – DJCity is a no brainer.

Incredibly Fresh Content

DJCity does not offer any throwback or legacy music – instead, they keep their selection undeniably fresh. Often while shopping in online music stores like Beatport, I find at least half of the tracks I plan to buy already in this pool. This ratio increases if the tracks are more mainstream. This is a welcome ease on the wallet. Occasionally, I’ve even found major label tracks on DJCity prior to their official release.

Remix City?

While nearly all the pools offer remixes, DJCity seems to err on the side of the newest, trendiest music in their selections. When genres like Tropical House or Future Bass were first emerging, this pool was the go-to when building my collection. Additionally, well-known editors/producers like Primetyme, KidCutUp, and Kronic seem to release exclusively through the service.

The UK Connection

New releases on DJCity UK.

A little known trick – you can log in to both DJCity and DJCity UK. The service’s UK counterpart has the music from the US site, along with its own UK content. This is great for DJs looking for a more European selection when building their library.

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  • Website: www.clubkillers.com
  • Price: $35 per month.
  • What’s Great?: A true abundance of custom, truly “club-killing” DJ edits.
  • What Needs Improvement?: One of the few record pools that does not also feature a mobile app.

“Same as always, but like never before,” is a slogan often seen on the Club Killers site. The pool has a rare communal feel to it, and thanks to a recent facelift, it boasts a sleek, simple new interface. To become a part of “the world’s most dangerous crew,” you must know an existing member. Club Killers is half record pool, half secret society, and 100% quality. We will begin by highlighting one thing that Club Killers has always been known for.

An Extensive Collection of Custom Edits

For DJs who take issue with the way most records are structured, most of the records on Club Killers have a download option called the “CK Cut” – this is a short edit. Based on the current trending chart of the pool, these cuts are very popular: right now 13 of the 20 tracks in their trending chart are edited by a Club Killers resident. This includes mashups, re-drums, and proper remixes. Club Killers truly excels in this arena, offering tracks with that bit of extra shine that can take a DJ set from good to fantastic.

Don’t believe me? Check out this video of Skrillex playing Boiler Room Shanghai, where he drops three of Deville‘s (a Club Killers resident DJ) edits in 70 minutes.

Curated Spotlights For The Win

Digging for records can take time and sorting through masses of music can become tedious. The process of finding a diamond in the rough is one of the most rewarding aspects of curating music. Club Killers seems to understand this, but also helps their crew save time by offering Curated Spotlights – playlists of 20 records with a specific theme. This can include anything from “90’s Party Jams” to “Digital Dave‘s Top 20 Picks”. Club Killers has a respectable back catalog of music spanning decades, all of which is available for download as a paid member. As if these this wasn’t enough, the pool also offers an option to “Express Download” up to 15 tracks in any genre you would like.

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  • Website: www.directmusicservice.com
  • Price: $29.95 per month (for the limited plan), up to 40% off  for yearly packages
  • What’s Great?: One of the largest back catalogues available, coupled with its own brand of exclusive edits.
  • What Needs Improvement?: Some DJs may dislike that most records on DMS have an intro, few will start cold.

When DJ AM put a stamp of approval on something, you know it is worth looking into. No, I’m not talking about Serato, Technics 1200s, or even the Nike Dunks he wore. I’m talking about Direct Music Service.

The Best of Both Worlds?

DMS is an incredibly versatile record pool. In many ways, it can be considered the best of both worlds in terms of balancing new material and fresh, exclusive edits with a massive back catalog of throwbacks and classics. From 70’s throwbacks, to Festival Trap, to Deep House, DMS goes above and beyond in terms of the selection they offer their users.

With regards to the extensive back catalogue of classic records, these aren’t low quality, un-quantized, intro-less versions of the records you need. DMS has DJ-ready, high quality downloads of even the most obscure tracks I’ve searched for. I firmly believe that their back catalog is second to none in terms of size and quality, and they’ve helped me diversify my library decades beyond my active years as a DJ.

A World-Class Team of Editors

One of my favorite dance floor weapons from DMS.

DMS ranks highly among its peers when considering the team behind it. In total, 15 editors work 24/7 to keep DMS on top of the game. The custom edits on DMS have often been some of my best club weapons. I can recall multiple occasions when I’ve been approached by DJs after my set, specifically asking for the edits I’ve gotten from DMS.

DMS features a form where users can suggest tracks to be added to the pool, and they genuinely do their best to accommodate the requests made. The level of dedication and quality that #teamDMS continues to deliver to its users each year has made it an exceptional service worthy of immense praise, and one of my favorite pools in existence.

POOL by Promo Only

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  • Website: www.promoonly.com
  • Price: Starts at $12.00/month
  • What’s Great?: Highly affordable, with extra genres available that are of particular use for mobile DJs
  • What Needs Improvement?: Unlike DMS, many tracks may lack intro versions, a potential downside/upside depending on one’s mixing style

With 25 years in the game, and ten consecutive wins for “Best Record Pool” at the International Dance Music Awards, this roundup would not be complete without a mention of Promo Only. It’s is one of the few services in existence with rights to distribute both their audio and video content in the United States, Canada, and Europe. Beyond DJs, Promo Only services every radio station under the Clear Channel and Cox Radio umbrella, as well as large corporations like Royal Caribbean and Buffalo Wild Wings.

Useful for both club and mobile DJs alike

Promo Only is the only pool to use a desktop app (called POOL) for downloading music. POOL provides up-to-the-minute information on new releases, and offers a large amount of video content for VDJs as well. Additionally, Promo Only is one of the few remaining record pools to still offer CDs & DVDs. They don’t offer legacy audio content, but the diversity that this record pool offers is simply incredible. In addition to Hip Hop, Pop and EDM offered by most record pools, Promo Only has Christian, Country, Latin, and other genres often needed by mobile DJs.

Detailed Statistical Analysis

One of my favorite features of POOL is TrackTrends. Every user with the POOL app installed can anonymously upload their DJ history. TrackTrends is a web-based chart system that is created from the actual data of what DJs are playing most. The more a track is played by DJs, the higher on the chart it will climb.

Live DJ Service

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  • Website: www.livedjservice.com
  • Price: $30 per month, lifetime memberships regularly offered at a discount.
  • What’s Great?: A specialization for big room club music, an extra touch of exclusivity
  • What Needs Improvement?: Not updated each week – although it’s more of a boutique service than the others

Live DJ Service has only recently been made available to the public. Previously, it was completely on the down-low, and invite only. Members include Flosstradamus, Dillon Francis, Diplo, GTA and Salva – just to name a few. LDS is different than other pools in that it offers less music overall, but has an “all-killer-no-filler” ethos to it.

Club Specialization

LDS’s collection of Black Beatles edits.

LDS is geared towards DJs rocking nightclubs, offering infrequent, one-time uploads Benzi calls “shipments.” In each are folders containing a specific genre of music, each hand-selected and supported by Benzi. Regularly in these folders are often some amazing edits. Without LDS, I would never have come across some of my greatest dance floor weapons that helped to define my sound this year.

The downside is that the pool is updated only every few months or so, but you’re guaranteed quality when a shipment does arrive. Benzi occasionally runs promotions where lifetime memberships are offered at a discount rate, but these are only offered to those already subscribed. While LDS is not a pool you can rely on for weekly updates, it certainly is a pool whose selections can help to set you apart in what is increasingly a sea of other DJs with record pool subscriptions.

One Pool To Rule Them All?

If you were looking for an official endorsement of one record pool over another, unfortunately I won’t be suggesting one any time soon. The fact of the matter is that I use each of the record pools listed above, and I find them all to be essential throughout the year. Each of the listed pools caters to a diverse group of users quite differently. Each pool has its own flavor, its own team of editors, and its own reasons for why you should join.

I advise readers to have access to multiple record pools. There is simply too much great music being pushed out by the above services to limit yourself to just one, even if you have a favorite to which you tend to gravitate towards.

What is most important, however, is that even if you have a library of the best music imaginable for the particular night you are playing, it is on you as a DJ to program the room properly, and ultimately make the party happen.

That, my friends, is something that cannot be obtained simply by kicking out a check for a monthly subscription.

The Dangers Of Streaming Someone Else’s Library

This all goes back to a well-deserved criticism of streaming DJ music: it’s the DJ form of sharecropping. If you don’t own your own music collection and rely on an external source, it could disappear at any time leaving you high and dry. If the terms of service are suddenly changed right before your big gig and your music disappears, what would you do?

While many DJ softwares have embraced Pulselocker, a DJ-oriented streaming service, we can’t help but see this as a major lesson for software developers and DJs. External dependencies are bad – and DJs should keep building their own music collections locally, not as playlists on someone else’s server. SO CHOOSE WISELY!!!!  

Wait Right There, Before You Do Anything!!!!: Please Read Week Six:  How To Download  Music To Your Software, The Easy Way!!! .   

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The Tragedy Of KFC

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Kentucky Fried Chicken is a long standing American fast food staple, because it longevity in the market. People that are forty and older can remember it commercials, it’s jiggle and most of all The Colonel. The Colonel one of the original feathered Owner’s logos in the business, I believe he is more recognized than Ronald McDonald, but I won’t get into that fight.

The Actual History Of The Colonel and KFC

“Sanders was born in 1890 in Henryville, IN. When he was six years old, his father passed away leaving Sanders to cook and care for his siblings. In seventh grade, he dropped out of school and left home to go work as a farmhand. Already turning into a tough cookie.

At 16, he faked his age to enlist in the United States army. After being honorably discharged a year later, he got hired by the railway as a laborer. However, he got fired for fighting with a coworker. While he worked for the railway, he studied law–until he ruined his legal career by getting into another fight. Sanders was forced to move back in with his mom and get a job selling life insurance. And guess what? He got fired for insubordination. But this guy wouldn’t give up.

In 1920, he founded a ferry boat company. Later, he tried cashing in his ferry boat business to create a lamp manufacturing company only to find out that another company already sold a better version of his lamp. Poor guy couldn’t catch a break.

It wasn’t until age 40 that he began selling chicken dishes in a service station. As he began to advertise his food, an argument with a competitor resulted in a deadly shootout. Four years later, he bought a motel which burned to the ground along with his restaurant. Yet this determined man rebuilt and ran a new motel until World War II forced him to close it down.

Following the war, he tried to franchise his restaurant. His recipe was rejected 1,009 times before anyone accepted it. Sander’s “secret recipe” was coined “Kentucky Fried Chicken”, and quickly became a hit. However, the booming restaurant was crippled when an interstate opened nearby so Sanders sold it and pursued his dream of spreading KFC franchises & hiring KFC workers all across the country.

After years of failures and misfortunes, Sanders finally hit it big. KFC expanded internationally and he sold the company for two million dollars ($15.3 million today). Even today, Sanders remains central in KFC’s branding and his face still appears in their logo. His goatee, white suit and western string tie continue to symbolize delicious country fried chicken all over the world.”

If That Wasn’t Tragic Enough Here Is More Of His Shortcoming

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1. For most of his life, he was a terrible businessman.

Most customers probably don’t realize that the Colonel only became a successful restaurateur after failed careers as a lawyer, insurance salesman, lamp salesman and tire salesman. Sanders often made unwise business gambles and had a habit of getting into fights that resulted in being fired – something that suited him as a self-employed entrepreneur, but that was less ideal as a company spokesperson later in life.

2. He once shot someone for his brand.

What Sanders lacked in business skills, he more than made up for in passion. When Sanders painted a large sign pointing potential customers from the highway toward his gas station in Corbin, Ky. (it would eventually expand into Sander’s first cafe), he enraged the owner of a competing gas station, Matt Stewart. Stewart painted over Sanders’ sign, leading to Sanders threatening to “blow [his] goddamn head off” and repainting the sign himself.

When Sanders discovered Stewart once again painting over the sign, he and two Shell officials ran to catch him red handed, heavily armed. In the resulting gun fight, the Shell manager was killed and Sanders shot Stewart in the shoulder. KFC currently has a purposefully poorly acted reenactment of the fight that gave Sanders complete control over the gas station market in the area after his competition was sent to jail for murder.

3. He cheated on his wife (a lot).

While KFC loves certain quirky details about Sanders personal life, one of the facts KFC chooses not to highlight is his relationship with women, especially his two wives. Sanders married his first wife, Josephine, at the young age of 19. According to Colonel Sanders and the American Dream, his second wife’s nephew said Josephine wasn’t interested in a sexual relationship after giving birth to three children. So, Sanders “found what he needed to find in other places.”

One outlet for Sanders’ sexual energies was Claudia Ledington, a former waitress at Sanders’ first restaurant, Sanders Cafe. Claudia and Sanders wed in 1949, after an ongoing affair and two years after his divorce with Josephine. It would be Claudia that would support Sanders in transforming KFC from a restaurant with a good chicken recipe to a national brand.

Throughout his life, Sanders was notoriously licentious. Sanders’ biographer, John Ed Pearce, recalls a woman at the Chamber of Commerce saying that whenever the Colonel came in she had to beat his hands off of her. A 1970 New Yorker article quotes him observing crowds of housewives seeking autographs saying: “Umm, that gal’s let herself go… Look at the size of that one… I don’t know when I’ve seen so many fat ones… Lord, look at ’em waddle.” In short, if the Colonel was alive today, it wouldn’t be shocking to see his name come up in the Ashley Madison leak.

Related: How a One Direction Misdirection on Twitter Inspired Burger King to Bring Back Chicken Fries

4. He’s not a military colonel.

If you’re not from Kentucky, you may have assumed that Sanders served as a military leader at some point in his long life. In fact, he was a Kentucky colonel, a title of honor awarded by the state of Kentucky. Sanders became a colonel in 1935 as the founder and owner of the gas station-adjacent restaurant Sanders Cafe, but misplaced his certificate, receiving his second colonelship in 1949.

In the 1950s, Sanders began marketing himself as a southern gentleman and Kentucky colonel, dying his beard white, crafting a string tie and donning his iconic white suit. As he franchised his concept starting in the ’50s, selling the recipe for his Kentucky fried chicken to restaurants across the U.S., this identity as a Kentucky colonel linked Sanders to a southern ideal that lent the Indiana-born man an air of legitimacy.

5. He only made $2 million selling KFC.

After KFC went from a single cafe to a franchised concept, Sanders sold the business in 1964, feeling out of his league at the age of 75 as the chain rapidly grew. The $2 million, plus an ongoing salary to remain the face of the brand wasn’t a terrible deal. However, after the company’s profitable IPO, in which shareholders made millions, Sanders began to feel as though he got the short end of the stick.

At the company’s first franchisee convention after the IPO, Sanders took the stage and spent 40 minutes railing against management. He claimed executives were thinking only about the short-term and ruining his reputation. While he failed to win over the franchisees and went on to continue his duties as a spokesperson, it seems a part of him remained convinced he had been tricked into giving up his business.

6. He tried to sue KFC for $122 million.

After KFC was sold to Heublein in 1971, Sanders’ appetite for disruption grew. When the chain denied him the right to open an antebellum-themed restaurant selling Original Recipe chicken, Sanders sued the company for $122 million. He eventually settled out of court for $1 million and a promise that the Colonel would stop embarrassing the company. Sanders did not keep up his end of the bargain.

7. According to him, KFC doesn’t use the famous secret original recipe of 11 herbs and spices.

While very few people in the world know exactly what is in Colonel Sanders’ mix of 11 secret herbs and spices, we do know that the Colonel said many times in his life that KFC stopped using his recipe. As KFC is intensely protective of the recipe, it is a difficult matter to fact check. The chain reports that it keeps Colonel Sanders’ handwritten recipe of 11 herbs and spices safely locked away in a vault, utilizing two suppliers to preserve that secrecy of the ingredients.

Whether or not the Colonel’s original recipe is in use today, it is clear that Sanders was dismissive of KFC’s menu in his final years. In 1970, the New Yorker quoted him saying the company’s new gravy recipe “ain’t fit for my dogs.” While the chain turned business around and reportedly improved food quality in the ’80s under new leadership, Sanders’ wasn’t around to see it. He died on Dec. 16, 1980, at the age of 90. (www.entrepreneur.com/article/250300)

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As we announced from the highest peaks earlier in the month, there’s a new Colonel Sanders in town. Darrell Hammond is playing the KFC patriarch in a new series of commercials full of Southern whimsey and clucking mannerisms (my take on it). The whole thing is the latest in a long line of Sanders clones that have hit the media landscape in an effort to push the Colonel’s classic chicken to the masses. The difference this time is that people seem to hate the guy:

Mashable notes a bunch of reactions just like this across social media, but the criticism spreads into a far more official realm. According to USA Today, Former KY Governor John Y. Brown Jr. isn’t a big fan of the new Col. Sanders and thinks the real man wouldn’t be a big fan either:

“I don’t think you make a gimmick out of somebody,” Brown said in a phone interview from his home in Lexington. “I think they are making fun of the Colonel. It is such a fascinating story, I hate to see them tarnish it.”

USA Today notes that Brown purchased the “secret” recipe back in 1964, opening thousands of stores before selling the company in 1971. Brown says the real Colonel was nothing like the version we’re seeing on the commercials (shocker, I know) and did not play the mandolin.

The kicker here is that KFC doesn’t really care. They’ve put their fake history of Colonel Sanders online, they’re pushing these commercials like they’re funding the entirety of television by themselves, and they love that people are voicing their displeasure with their head chicken honcho. According to Mashable, it’s the classic example of any publicity being good publicity:

“I am actually quite happy that 20% hate it, because now they at least have an opinion,” Creed said. “They’re actually talking about KFC, and you can market to love and hate; you cannot market to indifference.”

At least Hammond’s Colonel Sanders looks like the classic version. We can’t say that about McDonald’s new Hamburglar, a version that honestly makes me fear for the Grimace. Bad influences can stir up those old, evil feelings.

I think the big issue here is that this Colonel is not real enough. In reality, he cursed like a sailor and usually said the first thing that popped into his head without coaching (like the famous tagline “finger licking good”). Give me that Colonel on TV and in print ads, the possibilities are endless! Then, I’d eat at KFC immediately.(Via USA Today / Mashable)

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Well said, even though the colonel has made bad decisions and was sometime not the most moral, we have a sudo or commercial relationship with this Icon, that we have learned to love. So let’s not let the new commercial world bash and destroy this Older, Kinder, Grandfather figure, that we have learned to know and love. Let’s write letters and stop the madness, telling them to go back to the good old days of the Kentucky Fried Chicken commercials, because We have grown tired of this New KFC.

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Do You Want To Be A D.J? A Weekly Series: Week Four

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Getting Music

Getting music requires finding a play that has the music you like, finding out if you have to pay a fee or is it free, then joining, purchasing and/or downloading your music. It requires a lot of ingenuity and some experience, but like always I will help you. First thing first, as I said at the end of week three, choosing requires a reading for understand, please take your time with these choices, because the time you save will save you money.

KEEP IN MIND:The best way to MAKE A STRONG PICK is: Pick some sites that have your genre, then read:what else the site offer, if that’s good make sure you have the place or equipment to download to. Happy Hunting!!!

Where To Get Music

DJs always need more music, whether you’re trying to keep up to date with new trends, filling gaps in your collection or maybe you’ve just installed Serato and need a bunch of tracks to start mixing with. The info below should supply you with all the music downloading resources you need.

RECORD POOLS

Record pools are the preferred option for working DJs as they often supply a regularly updated database of music stretching over many genres. The subscription-based payment system allows you to load up your library at a fraction of the cost, compared to purchasing tracks individually.

For a more in-depth review of the record pools listed below visit DJTechtool’s article.

DJCity

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With monthly charts of the most downloaded songs and trending tracks picked by DJs in the know, DJCity is a great hub for staying connected to what’s cool and in. While DJCity has a heavy American Hip Hop influence, you will also get access to DJCity UK giving you a resource for UK House, Garage and Grime.

BPM Supreme

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BPM Supreme will suit DJs that play any form of popular music. With a catalog spanning over a wide variety of genres and musical eras, Wedding/Party/Club/Video DJs should find this site to be a great resource.

Club Killers

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Club Killers supplies a wide array of popular music with a heavy focus on EDM. The pool is stacked with exclusive remixes, bootlegs and DJ friendly edits all supplied by their team of professional touring DJs.

Direct Music Service

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DMS offers a great variety of DJ-friendly music. From re-drummed old classics for weddings to edits of current dance music for clubs. Their nice genre colour coded website makes loading up your crates with specific styles of music really convenient.

Beat Junkies

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A haven for Soul, Funk, Disco, Hip Hop, RnB. All of the tracks are edited and ready to DJ with and as it’s run by the Beat Junkies you’ll also find a whole collection of scratch tools and battle breaks.

Digital Music Pool

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A very detailed site offering you in-depth search functionality and access to current and archived charts. The site offers a good selection of popular genres, which are displayed in a practical layout to browse through. Each upload has quick download links for each available downloadable version of the track, as well as displaying the BPM and Key info.

Promo Only

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A great source for current hits of all genres with audio and video options. The Promo Only App comes with a powerful set of preference options allowing you to fully customize the music that appears on your feed and the format you download in.

SmashVision

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A complete source for HD music videos and all the tools a Video DJ would need. All files are pre analyzed/tagged for Serato. Highly recommend visiting SmashVision if you’re predominately playing video sets.

Late Night Record Pool

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Well over 10,000 tracks, the Hip Hop and EDM crates are very deep with a variety of other genres. The site is sorted into nice, neat categories making it easy to find what you’re after, while the zip feature makes downloading all your selections a breeze.

iDJPool

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A very wide array of music, maybe the only site that contains Christian, Gospel, and Jazz categories. Choose all the files you want then download in chunks with the zip feature.

DIGITAL MEDIA STORES

Not the most cost-effective option if you’re looking to bulk up on lots of music, however great if you’re searching for one little gem that you can’t find on your current record pool.

iTunes and Amazon

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and

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Both have huge databases of music stretching over every genre imaginable. These sites should be your first places to start if you’re having trouble tracking down a particular tune. Not only are these sites excellent for finding specific tracks but also for discovering new music through as you’re presented with similar suggestions. Do note that these stores aren’t aimed at DJs and won’t contain many extended or intro versions of tracks.

Beatport

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The go-to spot for many electronic music orientated DJs. You can trawl through the depths of Beatport finding cuts no one else has or get familiar with a genre by visiting the renowned Beatport 100 charts

Juno Download

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Juno has just about everything in the world of electronic music available for download. If you can’t find it here you are unlikely to find it anywhere else.

Boomkat

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In their own words, Boomkat specializes in “the most innovative, exceptional, interesting and often overlooked music out there”. They have an on point selection of underground dance music, Grime, Hip Hop and everything in between. They also have great reviews.

Bleep

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Bleep has an extensive amount of well curated electronic music available for download.

Traxsource

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A popular source for gathering underground dance music. Regular updates with lots of exclusives.

FREE

Everyone loves free stuff.

Soundcloud

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Stalk what music your favorite artist is feeling, discover new producers, download a whole bunch of music not to be found anywhere else… All for free!

Whitelabel

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Stalk what music your favorite artist is feeling, discover new producers, download a whole bunch of music not to be found anywhere else… All for free!

These are the best to the worst downloads for music, some are are free and others have a fee. Choose wisely because some of them might not download to your particular software, or they might have limits to the amount of tracks you can download at a time. Stay focus and passionate because next week is: Do You Want To Be A DJ, A Weekly Series Five Sharing Music Continues .