Отклонения, лирически и прозаически
Reinventing Music-Making: Beardyman or What You Get When You Add Computer Technology to Voice, 2 August 2010

The introduction in the late 1960s of a more sturdily built turntable, later to become known as a DJ-ing turntable, was the key to unlocking music-making freedom. The ability to easily manipulate the record and the stylus, further enhanced by deploying a mixer, opened the door for a new type of music artist, the DJ-turntablist who employed various record-playing techniques such as “cutting-up” and “scratching” of a song or two songs simultaneously, or the so called ‘live’ remix. Thus, turntable manipulation techniques enabled social groups previously excluded from the music-making ‘elite’ to produce music.

The postmodern aim of subverting authoritative eligibility mechanisms applied to music was achieved – the DJ “could selectively take any sound and leave behind the posing rock star hero attitudes provided by corporate rock, toss aside the leads [and] re-edit other people’s texts and call them their own.” Together with the new music makers and their new sound, new audiences emerged, attracted by the diversity and freedom promise contained in this remixed music. The act of listening to music was no longer an elitist experience only available to those who could afford to go to a concert or order musicians at their restaurant table or at their homes.

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