DJ Kool Herc:dj wa kwanza kuscratch turntable

DJ Kool Herc

DJ Kool Herc
DJ Kool Herc in New York City, May 1999
Background information
Birth name	Clive Campbell
Born	April 16, 1955 (age 58) Kingston, Jamaica
Origin	Kingston, Jamaica
Genres	Hip hop
Years active	1967–present

Clive Campbell (born April 16, 1955), also known as Kool Herc, DJ Kool Herc and Kool DJ Herc, is a Jamaican-born American DJ who is credited with originating hip hop music in the early 1970s in The Bronx, New York City. His playing of hard funk records of the sort typified by James Brown was an alternative both to the violent gang culture of the Bronx and to the nascent popularity of disco in the 1970s. Campbell began to isolate the instrumental portion of the record, which emphasized the drum beat—the "break"—and switch from one break to another.
Using the same two turntable set-up of disco DJs, Campbell used two copies of the same record to elongate the break. This breakbeat DJing, using hard funk, rock, and records with Latin percussion, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers helped lead to the syncopated, rhymed spoken accompaniment now known as rapping. He called his dancers "break-boys" and "break-girls", or simply b-boys and b-girls. Campbell's DJ style was quickly taken up by figures such as Afrika Bambaataa and Grandmaster Flash. Unlike them, he never made the move into commercially recorded hip hop in its earliest years.

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Disc jockey (dj)

From Wikipedia, the free encyclopedia

"DJ" and "DJs" redirect here. For other uses, see DJ (disambiguation) and DJs (disambiguation).

"Deejay" redirects here. For a person who verbalizes with music in the Jamaican style, see Deejay (Jamaican).

Club Eifel's DJ Blaze performing at the 2009 Air Force Ball.

A disc jockey, also known as DJ, is a person who plays recorded music for an audience. Originally, "disc" (sometimes spelled "disk", although this is now uncommon) referred to phonograph records, not the later Compact Discs. Today, the term includes all forms of music playback, no matter the medium. There are several types of disc jockeys. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, or discothèques, or at parties or raves, or even in stadiums. Hip hop DJs select and play music using multiple turntables to back up one or more MCs/rappers, perform turntable scratching to create percussive sounds, and are also often music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ (deejay) is a vocalist who raps, "toasts", or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector.^[1] Mobile DJs travel with portable sound systems and play recorded music at a variety of events. According to a 2012 study there are approximately 1¼ million professional disk jockeys in the world.^[2]

Equipment and techniques

Technics 1200 MK2, Technics 1210 MK2 & Pioneer DJM-500 shown in a common DJ configuration

A DJ at Sundance Film Festival 2003

Club DJ equipment may consist of:

Sound recordings in a DJ's preferred medium (for example, vinyl records, Compact Discs, computer media files, etc.);
A combination of two devices (or only one, if playback is digital) to play sound recordings, for alternating back and forth to create a continuous playback of music (for example, record players, Compact Disc players, computer media players such as an MP3 player, etc.);
A multiple Sequencer which can mix MIDI tracks with Digital Audio;
A sound system for amplification or broadcasting of the recordings (for example, portable audio system, PA system) or a radio broadcasting system;
A DJ mixer, which is an (usually 2- or 4-channel) audio mixer usually equipped with a crossfader used to smoothly go from one song to another, using two or more playback devices;
Headphones, used to listen to one recording while the other recording is being played to the audience, or to listen to both recordings simultaneously; and
Optionally, a microphone, so that the DJ can introduce songs and speak to the audiences.

Other equipment could or can be added to the basic DJ setup (above), providing unique sound manipulations. Such devices include, but are not limited to:

Electronic effects units (delay, reverb, octave, equalizer, chorus, etc.). Some club DJs use a subharmonic synthesizer effect which either doubles low frequencies with energy added an octave lower or synthesizes harmonics such that the impression of a very low bass sound is added to the mix.
A computerised performance system, which can be used with vinyl emulation software to manipulate digital files on the computer in real time.
Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.
Special DJ digital controller hardware that can manipulate digital files on a PC or laptop;
Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.
A Midi Controller used to trigger different aspects of DJ Software, such as Serato Scratch Live, Virtual Dj, and Traktor.

Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization, and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques. Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing to preserve energy on a dancefloor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.^{[citation needed]} Recent advances in technology in both DJ hardware and software can provide assisted or automatic completion of some traditional DJ techniques and skills. Examples include phrasing and beatmatching, which can be partially or completely automated by utilizing DJ software that performs automatic Synchronization of sound recordings, a feature commonly labelled "Sync". Most DJ mixers now include a beat-counter which analyzes the tempo of an incoming sound source and displays its tempo in Beats Per Minute (BPM), which may assist with beatmatching analog sound sources. Software has also been written to assist with the identification of musical keys for use in harmonic mixing, which analyze computer media files for musical content and automatically determine the musical key.^{[citation needed]}

History about Disc jockey dj

19th century to 1920s

In 1892, Emile Berliner began commercial production of his gramophone records, the first disc records to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, that of a contralto singing Handel's Largo from Xerxes.^[3] The world's first radio disc jockey was Ray Newby, of Stockton, California. In 1909, at 16 years of age, Newby began regularly playing records on a small transmitter while a student at Herrold College of Engineering and Wireless, located in San Jose, California, under the authority of radio pioneer Charles "Doc" Herrold.^[4]^[5]

We used popular records at that time, mainly Caruso records, because they were very good and loud; we needed a boost... we started on an experimental basis and then, because this is novel, we stayed on schedule continually without leaving the air at any time from that time on except for a very short time during World War I, when the government required us to remove the antenna... Most of our programming was records, I'll admit, but of course we gave out news as we could obtain it...^[4]

—Ray Newby, I've Got a Secret (1965)

By 1910, regular radio broadcasting had started to use "live" as well as prerecorded sound. In the early radio age, content typically included comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s, juke joints became popular as places for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station.

1930s–1950s

In 1935, American radio commentator Walter Winchell coined the term "disc jockey" (the combination of disc, referring to the disc records, and jockey, which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. The term "disc jockey" appeared in print in Variety in 1941.^[6]

Disc jockey Alan Freed

Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll.^[7]^[8] The Federal Communications Commission also clearly favored live music, providing accelerated license approval to stations promising not to use any recordings for their first three years on the air.^[6] Many noted recording artists tried to keep their recorded works off the air by having their records labeled as not being legal for airplay. It took a Federal court ruling in 1940 to establish that a recording artist had no legal right to control the use of a record after it was sold.^[6] In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherds in Otley, England. In 1947, he claims to have become the first DJ to use twin turntables for continuous play, and in 1958 became a radio DJ at Radio Luxembourg. Also in 1947, the Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first commercial discothèque, or disco (deriving its name from the French word meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Regine began playing on twin turntables there in 1953. Discos began appearing across Europe and the United States. The postwar period coincided with the rise of the radio disc jockey as a celebrity separate from the radio station, also known as a "radio personality". In the days before station-controlled playlists, the DJ often followed their personal tastes in music selection. DJs also played a role in exposing rock and roll artists to large, national audiences. While at WERE (1300 AM) in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.^[9] Notable US radio disc jockeys of the period include Alan Freed, Wolfman Jack, Casey Kasem,^[10] and their British counterparts such as the BBC's Brian Matthew, Radio London's John Peel, and later in the 60s, Radio Caroline's Tony Blackburn.^[11] Freed is commonly referred to as the "father of rock and roll" due to his promotion of the music and his introduction of the phrase "rock and roll" on radio in the early 1950s. Freed also made a practice of presenting music by African-American artists rather than cover versions by white artists on his radio program. Freed's career ended when it was shown that he had accepted payola, a practice that was highly controversial at the time, resulting in his being fired from his job at WABC.^[12] In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records, featuring hit singles on one turntable while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. In 1955, Bob Casey, a well-known "sock hop" DJ, brought the two-turntable system to the U.S. Throughout the 1950s, payola continued to be a problem and one result of the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly. In the late 1950s, sound systems, a new form of public entertainment, were developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector," who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting". These parties quickly became profitable for the promoters, who would sell admission, food, and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

1960s and 1970s

In the mid-1960s, nightclubs and discothèques continued to grow in Europe and the United States. Specialized DJ equipment, such as Rudy Bozak's classic CMA-10-2DL mixer, began to appear on the market. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between records with matching beats, or tempos. Grasso also developed slip-cuing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record. (This technique had long been used in radio.) By 1968, the number of dance clubs started to decline; most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that were modelled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City. In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or break. Turntablism, the art of using turntables not only to play music but to manipulate sound and create original music, began to develop. In 1974, Technics released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979—which, as of the early-2010s, remains an industry standard for DJing. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn," which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip-hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid-1970s, Hip-hop music and culture began to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of Hip Hop culture are graffiti, DJing, breakdancing, and MCing (rapping). In the mid-1970s, the soul-funk blend of dance pop known as disco took off in the mainstream pop charts in the United States and Europe, causing discothèques to experience a rebirth. Unlike many late-1960s clubs, which featured live bands, discothèques used the DJ's selection and mixing of records as the entertainment. In 1975, record pools began, providing disc jockeys access to newer music from the industry in an efficient method. In 1975,^[13] hip-hop DJ Grand Wizard Theodore invented the scratching technique by accident. In 1976, American DJ, editor, and producer Walter Gibbons remixed "Ten Percent" by Double Exposure, one of the earliest commercially released 12″ singles (aka "maxi-single"). In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip-hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song. In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later renamed Disco Beats), which published hit disco songs listed by beats per minute (tempo), as well as by either artist or song title. Billboard ran an article on the new publication, and it went national relatively quickly. The list made it easier for beginning DJs to learn how to create seamless transitions between songs without dancers having to change their rhythm on the dance floor. Today, DJs can find the beats per minute of songs in the BPM List.

1980s

In 1981, the cable television network MTV was launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh-faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forced many nightclubs to either close or change entertainment styles, such as by providing MTV-style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika Bambaataa was the first hip-hop song to feature synthesizers. The song melded electro hip-hop beats influenced by Yellow Magic Orchestra with the melody from Kraftwerk's "Trans-Europe Express." In 1982, the Compact Disc reached the public market in Asia, and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution. In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes, gained a cult following, and the Paradise Garage, the nightclub at which he spun, became the prototype for the modern dance club where the music and the DJ were showcased. Around the same time, the disco-influenced electronic style of dance music called house music emerged in Chicago. The name was derived from the Warehouse Club in Chicago, where resident DJ Frankie Knuckles mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983, Jesse Saunders released what some consider the first house music track, "On & On." The mid-1980s also saw the emergence of New York Garage, a house music hybrid that was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the Chicago house sound. During the mid-1980s, techno music emerged from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno artists combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference started in Fort Lauderdale Florida and became the premier electronic music conference for dance music disc jockeys. In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It was the first national DJ-published music magazine, created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986, "Walk This Way", a rap/rock collaboration by Run DMC and Aerosmith, became the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of hip-hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences. In 1988, DJ Times magazine was first published. It was the first US-based magazine specifically geared toward the professional mobile and club DJ. Starting in the mid-1980s, the wedding and banquet business changed dramatically with the introduction of DJ music, replacing the bands that had been the norm. Bandleaders, like Jerry Perell and others, started DJ companies, such as NY Rhythm DJ Entertainers. Using their knowledge of audience participation, MC charisma, and "crowd-pleasing" repertory selection, the wedding music industry became almost all DJ while combining the class and elegance of the traditional band presentation. New DJs as well as bandleaders with years of experience and professionalism transformed the entire industry.

1990s

During the early 1990s, the rave scene built on the acid house scene. The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities. During the early 1990s, the Compact Disc surpassed the gramophone record in popularity, but gramophone records continued to be made (although in very limited quantities) into the 21st century—particularly for club DJs and for local acts recording on small regional labels. In 1991, Mobile Beat magazine, geared specifically toward mobile DJs, began publishing. In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1 standard, designed to produce reasonable sound at low bit rates. The lossy compression scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music domain. In 1993, the first internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the audio was relayed over the internet, it was possible to access internet radio stations from anywhere in the world. This made it a popular service for both amateur and professional disc jockeys operating from a personal computer. In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final Scratch debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of MP3 files through special time-coded vinyl records or CDs. While it would take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would soon become the first step in the new Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam (aka William P. Rader), who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology. In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announced an MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to perform publicly using music stored on a hard drive, instead of having to cart their whole CD collections around to their gigs.

Pioneer CDJ-2000 wins iF Product Design Award 2011

CDJ-2000 wins world prestigious award.iF design award is one of the acknowledged worldwide design awards to be held annually.

Top 10 Africans Djs

HAWA NDIO MA DJ 10 BORA KUTOKA AFRICA

Kutokana na mtandao wa vibeweekly.com hawa ndio ma dj 10 bora Africa

#1. .Dj Waxxy Dj Waxxy started disc jockeying in 1990 and worked at some radio stations such as Ray Power 100.5, Rhythm 93.7 , Yfm 99.3 and Metro fm before he relocated to South Africa. He is currently a Vj with Channel O, Africa magic And SAA Flight Entertainment. Dj Waxxy Has featured with so many international artist and Dj’s such as Missy,Jay sean, Akon,Omarion, Marcus Houston, Sean Paul, Blu Cantre, Junior Reed, Brick n lace, Bow Wow, Busta rhymes, P Sqaure, Mo Hit Allstars and many more.He is currently working on his mix tape and also on world tour.

#2 Black Coffee Nathi “Black Coffee” Maphumulo -If one heard a clamour and ululating emanating from the eastern provinces of South Africa, Kwazula Natal and the Eastern Cape, announcing the recognition of a cultural phenomenon……and their role in the development of this cultural phenomenon…one could not argue were that clamour and ululating to be in respect of one……that is the soul, spirit, talent and vision of Nkosinathi Innocent Maphumulo, one who most know as “Black Coffee”.Considering his meteoric rise to fame, it would be easy to stereotype Black Coffee as just another black diamond, a BEE beat magnet out to mine the insatiable upwardly mobile urban house-party market. But as he proved on his South African Music Award-winning album Home Brewed, this DJ and producer defies convention. Sidestepping Afro-house clichés and stage-managed highs in favour of restrained sophistication, Black Coffee's penchant is for true Afropolitan house: home-brewed but trendsetting, fashion-conscious and future-focused. Expect almost sculptural balance and beauty.

#3 .Dj Caise Introducing one of UK's most exciting and innovative Nigerian young entertainers to ever grace the turntables, He is a multi-award winning DJ that has not only performed in the UK's and Nigeria's most prestigious nightclubs but has also entertained a variety of audiences from around the world.

Dj Caise has a unique and inventive style has enabled him to perform along side several of the music industry's leading artists. This extensive resume includes performances with Donaeo, Dbanj, the Mo hits All stars, P-Square, Styl-Plus, Olu Maintain, Ikechukwu, Sasha P ,Sauce kid.. that is to mention but a few.

Main influences are Hip hop, R'n'B, Funky house, Bashment, Old school, nija jams- “I try to play a lil bit of something for everyone”.Trained at the world renowned point blank london music college his style is very versatile and eclectic unlikely to hear the same mix or repeat a song during a gig. Mixing style varies from cutting to blending with a hint of scratching. Driven by his natural talent and great passion for music, Dj Caise showcases his incredible skills and knowledge of the music every step of the way. Whether that is featured in his performances, his latest mix-tape or his radio sets on The Beat 99.9 (official Dj), his style and popularity is like no other, and this is very much apparent once you attend an event hosted by Dj Caise.

#4 Dj Jimmy Jatts Jimmy Adewale Amu, popularly known as DJ Jimmy Jatt, one of Nigerian’s hottest DJs, was born in Lagos Island. He grew up listening to a lot of blues, soul, jazz and indigenous genres, like juju, apala, fuji, highlife, funk, R&B, pop, disco and hip pop. He happened to collect a lot of early rap albums from the 70′s and 80′s, and developed an interest in hip-hop and rapping.
Jimmy Jatt started his entertainment career as a rapper, known as Master J. He made a lot of demos and after a fruitless search getting a record label to support him, he started work of a DJ, with the support of his brothers. They helped him establish a studio (JATT studio) and he eventually changed his stage name to DJ Jimmy Jatt, in honour of his brothers, who were called Jimmy, Amu, Tunde, and Tayo. The studio was located on strategic Odo street, which helped him reach an eager audience who took to his “deejaying” skills and hip-hop in general.

DJ Jimmy Jatt is revered for his role in setting the pace for hip hop music across his country; Nigeria, dating back from the early 90′s when he jumped on the scene in Lagos up on till this moment. Dj Jimmy Jatt rocked and bopped heads at a lot of nite clubs and gigs dropping the latest hit on vinyl. At a point in Nigeria the only accepted forum for hip hop artistes to have themselves groomed, whilst engaging in lyrical battle was the ROAD BLOCK street Canival pioneered by Dj Jimmy Jatt. Setting up speakers, turntables, amplifiers and microphones, young lads swarmed his studio like bees unto nectar begging for a life-line. The likes of Junior and Pretty, Daddy Fresh, Daddy Showkey, DJ Abdullah, El Cream, Ruff, Rugged and Raw and Aladin (Formerly known as Chuck Da Bone), all grabbed the microphones, lighting up the stage, entertaining the crowd and basically having fun. No one had the slightest idea that Rap music was just on the brink of blowing up in Nigeria.

#5 Dj Black

With a a BA in Mass Comm. (UG/G.I.J) ,a diploma in Public Admin (UG), and the Host DJ for all major shows in Ghana including the Ghana Music awards ; he is an ideal role model for the youth.He has won Rothmans Best DJ in West Africa 2001, 2009 Red Carpet Awards Independent Artist and DJ award winner.

DJ Black founded Blaqbone International together with partners Schwarz Bless’on (Radio Cardiff) and Notse A. Amarteyfio in 2005 and manage artistes and DJS such as Dretonio, Philo, E-dBle, etc.In 2010, DJ Black formed TOONTOOM the brand. With Toontoom Agency Studios at Kokomlemle, DJ Black has expanded the brand as a voice over artiste and a mentor.In 2011, DJ Black performed on Big Brother Africa:Amplified and won the Best Radio DJ in Ghana adding on to 2010′s Africa’s NO 2 Top Radio DJ of the year and the 2010 Red Carpet award from Sniper Squad DJS.

#6 Dj Robbie Rob

Duma FM's Hip Hop giant Robbie Rob larger than life persona is unmistakable. This resident Gaborone News cafe DJ rocks every Friday and Saturday nights alongside his long time friend DJ Shimrock.His illustrious broadcasting career dates back to campus radio at the University of Cape Town back in 1996.Between 1997 and 1999, Robbie Rob built a name as one of Cape Town's most devoted, most sought after DJs.

Over the years The Robster has played alongside the likes of DJ Fudge and DJ Yass from France and American DJ/Producer Quentin Harris, one of the most influential players on the House scene right now.In Botswana, Robbie Rob enjoys cult status amongst party people all across the country.No DJ on the Botswana scene at the moment can claim to have enjoyed as much sustained success as Robbie Rob aka Double R.

The bookings came in quick upon Robbie Rob's arrival in Botswana back in 1999, and more than 10 years later they haven't stopped.Robbie Rob is one of Botswana's bona fide international DJ talents, having travelled as far as Malaysia and the United States on his travels as a DJ.In June 2008, Robbie Rob's first ever mixed House compilation was released under internationally acclaimed label Soul Candi Records from South Africa.Gorilla Grooves Volume 1 is Botswana's first ever authentic mixed House compilation.

#7 Dj Malick

This is none other than the energetic, fun and super cool DJ Malick. The talented Malawian is the host of Gowelo Beats and Crush Grooves on Power101 FM and admits to sleeping, eating and breathing music.Whenever he is on the one’s and two’s, he likes to keep the crowds on their feet and all sweaty.According to his public relations office, the thing that he enjoys most about his job is getting to mix at some of Malawi’s hottest night clubs and entertainment joints

#8 Dj Kaytrixx

Award winning DJ Kaytrixx is one of the most successful DJs in the country and also among the most paid when he performs at an event. Having started DJ-ing about 3 years ago he is currently working at KTN (Kenya Television Network) as a co-host and Live VDJ of an award winning TV show called “STR8 UP LIVE” which airs every week day and at Homeboyz Radio as a DJ and a Radio Presenter for his show called “THE HANGOVER” ,which airs every Saturday afternoon. You can also catch him on Clouds FM in Tanzania every Friday evening,and on Contact Fm in Rwanda every Friday evening.His former employer was Code RED entertainment limited.

#9 Dj Fetty-Tanzania The first lady of Tanzania’s deejaying scene, DJ Fetty is one great Tanzanian deejay.Born Fatma Hassan, the musical lady started deejaying in 2006 as an employee at Clouds Fm radio station in Dar-es-salaam on a very popular afternoon show called 'Dr Beat'.

She started out playing mostly hip hop, R&B, Bongo Fleva and a little bit of pop. While on the show she joined Clouds FM DJ group collectively known as Nyuki DJ’s as part of a phenomena show at the time called ‘Saturday Night Live’. The show saw a group on Tanzania’s finest including Mwanza, Tanga and Dodoma performing in different regions every weekend. It was at this time that she started gaining popularity as a force to be reckoned with.For three years in a row, DJ Fetty has performed at the popular yearly musical event ‘Fiesta’ and she has also previously been part of the MTV VJ search in Arusha.

#10 Dj Crème De La Crème Dj Crème de La Crème has been deejaying professionally for about 5 years,and has been able to master the science of entertainment. He has been able to tap into the business spectrum of entertainment.His other specialities are in Mceeing, Video Mixxing and Editing and Creative Writing

Pioneer's CDJ-2000 Nexus Is Here: What Does It Mean for DJs?

Pioneer's CDJ-2000 Nexus

New CD player aims to replace laptops in the DJ booth

Not too long ago, DJs routinely busted their backs schlepping heavy crates of vinyl from gig to gig. As vinyl has declined in popularity, the job has gotten a lot easier on the vertebrae, but the array of options available to DJs is enough to make anyone's head hurt: There are pro-quality CD players, or CDJs; "scratch" control systems like Serato and Traktor, which allow DJs to manipulate music on their computer using traditional turntables or CDJs; and a growing field of hardware controllers, software applications, and all-in-one solutions. Pioneer has made clear its intentions to corner that crowded market with high-end CDJ models that replicate key features of laptop-enabled systems: GUIs that display track waveforms, the ability to browse by folder, and, crucially, USB ports that allow DJs to carry all their music on a single hard drive (or, if they've got shallow crates, a USB stick). This week, Pioneer upped the ante with the announcement of the CDJ-2000 Nexus, the latest edition of its top-of-the-line CD player. The most headline-grabbing news is that the CDJ-2000 Nexus is the first CD player that allows DJs to access music on smartphones or tablets using Wi-Fi or USB connections. In other words, in addition to reading CDs, CD-Rs, DVDs, USB sticks, SD cards, and portable hard drives, the CDJ-2000 Nexus can now cue up music directly from an iPhone—whether the DJ's, his or her friend's, or even an audience member's. (A boon for wedding parties, perhaps, but a bane for any DJ loath to take requests from the crowd.) More importantly, the CDJ-2000 Nexus continues to take on functionality that was once possible only with laptops. Using Pioneer's Rekordbox music-management software, DJs can tag their audio, set loop points, and create playlists, much as they might prepare their sets in Serato or Traktor Scratch. (A Rekordbox iOS app also allows DJs to prep sets offline and transfer the data later.) An automatic beat sync feature allows DJs to synchronize up to four units — anathema to traditionalists, perhaps, but a key selling point for a new generation of DJs that never learned to beatmatch manually. Pioneer's Traffic Light feature even takes on the task of software applications like Mixed in Key, facilitating harmonic mixing by highlighting tracks in complementary key signatures. And an enlarged (6.1 inch), full-color LCD display offers the kind of GUI previously available only with laptops, including browsable playlists, cover art, and scalable waveform renderings along with loop points, downbeat markers, and detailed pitch and tempo data. Last week, Create Digital Music's Peter Kern reported on new integration between Native Instruments' Traktor system and Pioneer hardware, calling it "part of a larger trend: it's computer functionality, away from the computer." The arrival of the Pioneer CDJ-2000 Nexus pushes that trend even further along, and, if it becomes standard-issue in nightclubs, it could be a very good thing. As someone who has often had to plug in my Traktor system while another DJ was finishing his set on Serato, fumbling through a tangle of cables while his final track neared its end, I've often wished for a more streamlined solution — one that would allow DJs to simply show up with their music and play, like they did in the good ol' days of vinyl. (And yes, I also still play records, so save your snark.) The Nexus, if adopted as the new standard, could help take laptops and external hardware out of the equation and return the DJ booth to a simple, plug-in-and-play proposition. For seasoned resident DJs, there's only one caveat: prepare to be faced with aspiring selectors storming the booth, iPhones in hand, ready to throw down. Check out a series of promotional videos featuring Laidback Luke, Kissy Sellout, and Eats Everything for a demonstration of some of the Nexus' beat-synched bells and whistles. click here to watch video

Pro-DJs are about to get a new lease of life at the arrival of the new CDJ-2000nexus – the industry’s first multiplayer to be compatible with rekordbox™ DJ software on iPhone, iPod touch and iPad, Android smartphones and tablets. Inheriting the DNA of the much-loved CDJ-2000, the CDJ-2000 nexus has evolved beyond DJs’ wildest dreams. DJs can prepare amazing sets and playlists using the included rekordbox software or download the new rekordbox app to access the same features on their iPhone, iPod touch and iPad, Android smartphones or tablets. Music can then be loaded onto the CDJ-2000nexus via USB or, new for the CDJ-2000nexus, Wi-Fi¹. The CDJ-2000nexus opens up a new realm of possibilities during performance, with the addition of four-deck rekordbox Beat Sync. Dedicated controls for Master and Sync let you choose which new songs are automatically beat-matched to the master deck. DJs can now focus on taking their performance to new heights through their mastery of loops, cues and new live edit functions, all perfectly in sync. "Finally true quantization comes to hardware users, opening up possibilities for those who want to retain traditional DJing methods but with the advantages of technology.” James Zabiela The hugely popular Slip Mode is an essential performance tool that takes the risk out of using remix functions such as loop, scratch and reverse. DJs can create live edits while Slip Mode keeps the music playing muted in the background, bringing it back in when the edit is finished. Another new feature is Active Loop; DJs can use rekordbox to set automatic loops in any track. So DJs can extend part of a track, never miss a trick, or prolong the end of a song so the music never runs out unexpectedly. New Quantize functions have also been added. Along with snapping all cue and loop points to the rekordbox beat grid, Hot Cues and Hot Loops can now be triggered in perfect time with the music. A dedicated Quantize button makes it easy to switch between ‘free’ or ‘quantized’ playback, giving DJs the choice to express themselves in the best way for each performance. Automatic recall of Hot Cues and Hot Loops makes the whole creative process even more fluid. The CDJ-2000nexus makes mixing in-key effortless. Tracks are analysed by rekordbox and the CDJ-2000nexus browser incorporates a simple traffic light system that shows you which songs will mix well with the master deck. This works hand in hand with Master Tempo, which changes the music speed without altering its pitch. DJs will notice a significant improvement in quality and it now works without artefacts up to ±16%. The large, full-colour screen now features rekordbox Wave Display and Wave Zoom to provide a much better view of the music, and lets DJs edit beat grids directly on the players. Browsing music is even more intuitive, with the option to view tracks in list, artwork or customisable formats. The screen shows a host of mixing tools that can be pre-set in rekordbox, such as Beat Countdown and Phase Meter. The CDJ-2000nexus retains all the popular features of the CDJ-2000, such as the 206mm jog wheel and the ability to edit playlists on the fly. And, naturally for Pioneer professional products, the highest possible sound quality and robust build come as standard. The CDJ-2000nexus is available from late September 2012, at an SRP of 1,899 EUR / 1,599 GBP including VAT.

Key Features: CDJ-2000 nexus

World’s first DJ player to be compatible with mobile devices, by USB or Wi-Fi Our rekordbox DJ software has already revolutionised set preparation with indispensible features such as BPM analysis, beat grid, Hot Cues, Loops and Quantize. And now DJs are using it to create playlists and store music on iPhone, iPod touch and iPad, Android smartphones and tablets. The CDJ-2000nexus is compatible with both our included rekordbox software, and our rekordbox app – which can be downloaded free from the App Store (iPhone, iPod Touch and iPad) or Google Play Market (Android devices). The player is Wi-Fi compatible, so – in addition to USB – DJs can connect wirelessly from their laptop, PC, iPhone, iPod touch and iPad, Android smartphones and tablets when the player is hard wired to a wireless router. NEW! Beat Sync for perfect beat matching every time Hit the Sync button and the CDJ-2000nexus looks at the rekordbox beat grids of music, on up to four connected players, and snaps them to the beat of the master deck. This amazing feature promises to revolutionise performance, freeing DJs up to get truly creative with loops, cues and scratching, or the samples and effects on their mixer. High-quality Master Tempo keeps sound faithful to the original DJs will be truly impressed with Pioneer’s best-ever quality Master Tempo. The CDJ-2000nexus uses a new algorithm to lock the track’s pitch while they manipulate the tempo, for sound that is more faithful to the original tone. NEW! Wave Zoom for even more detailed information In addition to the original Wave display, which lets DJs see the peaks and troughs of the music, the CDJ-2000nexus is the first player to have Wave Zoom for even more precision on loops and cues. And the popular needle search – which lets DJs slide their finger along the ribbon to intuitively access any point in the track – is now illuminated for improved visibility in the booth.

Highly evolved features to breathe new life into performance

The CDJ-2000nexus is bursting with exciting new and improved features that really put the joy back into performing.

Slip Mode: a popular feature on Pioneer’s CDJ-900, Slip Mode silently continues track playback during a loop, reverse or scratch and brings the music back at the right point when the DJ exits the performance.
Improved Quantize: Quantize uses the track’s beat grid to ensure loops and cues are set and triggered in time with music, with 100 per cent accuracy. And DJs can now access Quantize via its own dedicated ON/OFF button.
Active Loop: DJs can use rekordbox to set an Active Loop at the end of tracks to ensure they’re never caught unprepared again. The CDJ-2000nexus will even display a beat countdown to that point.
Hot Cue auto load: instantly loads up to three pre-set Hot Cues when a track is loaded onto the player.
Emergency Loop: if the player becomes disconnected from the source, the CDJ-2000nexus automatically goes into a four-beat loop, which DJs can scratch or mix into another source.
Last track played: DJs can use the dial to easily navigate backwards through the last five tracks loaded on a player.
Rating on the go: rate and change the ratings of tracks during performance, and it will be automatically synched with rekordbox.

Improved track information to make mixing a breeze

The CDJ-2000nexus automatically displays even more information on its large LCD screen.

Beat Countdown: DJs can use rekordbox to mark key points on a track, and the CDJ-2000nexus counts down to them from up to 64 bars away.
Phase Meter: DJs can see the position of the beat in the bar and compare the phase with the master deck on each player at a glance.
Key Analysis Indicator: this browse feature known as the ‘traffic light system’ shows you which songs are in a compatible musical key with the master deck and, when used with Master Tempo, ensures harmonised mixes every time.

Sharper screen and improved browsing The new player inherits the 6.1-inch full colour LCD screen from the CDJ-2000. Browsing and selecting music is even easier; DJs can choose how they view tracks – list, artwork, or custom view – and scroll through using the large rotary dial. My Settings function for immediate access to personal preferences DJs can access their personal preferences on any CDJ-2000nexus thanks to My Settings. The player automatically detects settings that have been selected in rekordbox – including Quantize ON/OFF and Master Tempo ON/OFF – for a customised DJ booth in seconds. High-quality sound and improved LAN port The CDJ-2000nexus boasts professional quality audio circuitry, and a built-in 24-bit/48 kHz sound card, for a clear, powerful sound even at club volumes. A precision engineered Wolfson DAC, which plays master quality audio files up to 24 bit/48 kHz, reduces jitter, while the player’s signal-to-noise ratio of 115dB ensures incredibly accurate sound reproduction. A new IEC connection allows a more professional power connection for improved sound quality. In addition the improved LAN port design is more robust and now makes it impossible to plug in the wrong cable. Stylish, robust design and familiar layout The CDJ-2000nexus inherits its design and layout from its club-standard predecessor – but with a few improvements. The metal colour jog wheel and pots give the unit a more premium look, while the anti-scratch panel keeps it looking sleek and new. And white illumination ensures a contemporary look and high visibility in the booth.

Other features

Improved jog wheel tension dial
Control various DJ software via MIDI/HID control
Pro DJ link enables sharing source with up to four players connected by LAN cable
Supports MP3, AAC, WAV and AIFF music files.

Main Specifications

Playable media	iPod Touch 4th and 3rd generation iPhone 4GS, iPhone 4, iPhone 3GS, IPhone 3G iPad 3rd generation Android phone/Android tablet, etc. USB storage devices (flash memory/HDD, etc.) SD memory cards Computers (Mac/Windows PC) Audio CD, CD-R/RW, DVD±R/RW/R-DL
Playable files	MP3, AAC, WAV, AIFF (iOS version of rekordbox™ enable to playback only MP3 and AAC)
USB storage support file systems	FAT, FAT32, HFS+
Frequency response	4 Hz~20 kHz
S/N ratio	115dB or more
Total harmonic distortion	0.0018% or less
USB ports	USB A port x 1, USB B port x 1
Audio output ports	AUDIO OUT (RCA) x 1, DIGITAL OUT (COAXIAL) x 1
Other ports	LAN (100Base-TX) x 1, CONTROL (φ3.5 mm mini plug) x 1
Audio output voltage	2.0 V rms
Power use	220-240 V, 50/60 Hz
Electricity consumption	37 W
Max. external dimensions	320 x 405.7 x 106.5 mm (W x D x H)
Weight	4.7 kg

rekordbox™ music management software (included):
Supported OS	Mac OS®X 10.5.8, 10.6 or 10.7 Windows®7 Home Premium/Professional/Ultimate Windows Vista® Home Basic/Home Premium/ Ultimate/Business (SP2 and above) Windows® XP Home Edition/Professional (SP3 and above) (*Windows® XP Professional x64 edition is not supported)
Playable files	MP3, AAC, WAV, AIFF

¹ A wireless router is required for this connection. * iPhone, iPod Touch and iPad are registered trademarks of Apple Inc. in the United States and other countries. App Store is a service mark of Apple inc. * rekordbox™ is a registered trademark of Pioneer Inc. * Windows®, Windows 7, Windows Vista® and Windows XP are registered trademarks or trade names of Microsoft Corporation in the U.S. and other countries. * Android is a registered trademark of Google Inc. * Other trademarks and trade names are the property of their respective owners. * Other product, technology and company names, etc. mentioned herein are the trade names or registered trademarks of their respective owners.

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DJs TEN TIPS FOR SUCCESS: 1. Be friendly with everyone you meet, they may have contacts. 2. Stay fresh, keep up to date with industry trends. 3. Be patient, it comes in time. 4. Stash away the cash, you'll need every penny. 5. Dress well, bar/club owners don't want to see smelly bums working for them. 6. Get some help, get a manager they come in quite useful and it looks good. 7. Prepare to travel, this job requires it. 8. Be interesting, bring something new to the stage that people will notice and remember. 9. Use your friends, they can fill that empty floor quite quickly. 10. Play to the girls, The only way to fill a dance floor is to get the girls up first, no matter what the music, if the girls are dancing then the boys will follow. Stepping out - Taking dreams to reality. Study this thorough article on one DJ's idea of how to succeed in the industry of professional mixing. Only on InternetDJ. There is no straight forward path to becoming a success in the world of dance music, if you are a DJ, producer or both it seems very difficult to go from bedroom oblivion to superclub stardom. A few users on InternetDJ.com have asked me for advice in the past few weeks about getting gigs and getting noticed so I have decided to put my own little guide together. Many of you may have your own ideas and methods for getting into the limelight, these are my own, they may not be ideal for everyone but they should help some to move forward. Below is a guide for DJ's I will follow it up with a guide for producers, enjoy. A START Every party goer who has graced the floor of a club has at one stage looked up at the DJ box and dreamed of what it must be like to be the focal point of peoples nights, to be the one who decides what they will be dancing to and what they will be spending their money on in the record shop the following day. A lot of people have stopped dreaming and are now going for it, but how do you start. Before you can do anything you will need money - plenty of it, do some overtime, get a part time job, and cancel your holiday plans in Ibiza because becoming a DJ isn't free. Money buys you equipment to get going, what do you need? Starting off you need 2 turntables a mixer and if your pocket is deep enough I would recommend a pair of CD-Decks. CD-Decks are widely used in commercial clubs so it is a good idea to be experienced with them. Buying the best and most expensive gear is not always a smart move, I believe it is better to learn on the more affordable packages as long as they are reliable; there are some good affordable packages in the internetdj shop. If you can master inferior equipment then you will find using the top of the range club gear a breeze! Look for advice before you buy, search for the equipment you fancy on the web and read any reviews you find, also ask advice from the workers in your equipment store but be wary they may be chasing that commission or trying to offload those dusty overpriced decks in the basement, however many of them are good for a second opinion. Vinyl will be the biggest drain on your finances; initially you will need to build up a collection of classic records as well as getting hot new tracks as they come out. Look in the classifieds and see if any retiring DJ's are selling off their collections, average DJ's are quitting all the time because of work, family or loss of interest. Many of they have nice little catalogues of tunes that can save you a lot of time digging through bins in stores looking for that elusive original mix of Cream. LEARNING So you have your gear and a few records to spin, what next? Learning can be a very stressful experience; it takes a long time to pull it together and requires plenty of patience. My recommendation is to get a teacher to show you the ropes. This can be someone offering their knowledge for a fee or a friend willing to do it for nothing, it is imperative that you get another person to show you, they will teach you tips and techniques that all the reading in the world can't convey. Keep an open mind when learning every DJ has a range of different techniques, don't stick with one that feels uncomfortable even if you are thought it, find one that suits you and create your own style. The internet is a fantastic source of information, look through every guide you can find and learn from them, there are a few on internetdj that are well worth checking out. Watch a professional, go to bars and clubs and hang around the DJ box. Monitor every step, every movement they make and most of all listen. Make sure you keep a watchful eye on the crowd and their reaction to the music, this will all be constructive. Practice makes perfect, this is a clich� that should become your bible. Spinning and mixing should become your number one focus in life. Give up whatever other hobbies you have and dump your girlfriend/boyfriend because if you want to be good then you just don't have time for them. Spend every free moment you have behind your decks. If you want to make an impact then you have a lot of catching up to do because a lot of people have been doing this for years before you came along. Try not to lose hope, it does take a lot of effort and commitment but if you really want it then nothing can stop you. My main tip when it comes to practicing is to record yourself at every opportunity, get a minidisk recorder and listen to your mixes on the bus or in the car, analyse every beatmatch, every scratch, if something doesn't sound quite right then go home and do it again and again until you have it. WORKING So you reckon you can be one of the big boys now, do you? After what seems like an eternity, you have finally perfected your mixing skills and now you want to show them off to the world. This is how you can go about getting your first gig. To play live takes balls and confidence; it is very difficult to go straight from the bedroom to the main room without any live experience. Play to the people, ask friends to let you DJ at their parties and learn what it is like to perform in front of a crowd. Done that? Now do this: Getting a gig/residency is all about who you know, if you have contacts that can help you then you are one of the lucky ones, for the rest of you this is how you go about getting work. You need plenty of experience to get a good spot in the club and this means starting at the bottom of the ladder, check out late night bars that usually have DJ's playing this will be your playground. Ask the management if you can play there, tell them that you are just looking to practice and improve your skills, DO NOT LOOK FOR MONEY, say you will spin in the late afternoon when the bar is quiet and that you promise not to get in anyone�s way. They should in most cases be more than happy to let you move in. So you have a place to spin, it may not pay anything and there's no buzzing crowd to control but it is a foot in the door. Now you need too impress, spin tracks that suit the atmosphere of the bar, if the barstaff start to boogie then you know you're doing well. Become friendly with everyone especially the regular DJ's that take to the decks after you finish. If all goes to plan you will be asked to fill in when one of them leaves or goes on holidays, pay cheque! Try to play the game in as many bars as you can at once, this will involve giving up most of your week but you knew there would be sacrifices, eventually you will become resident in a few of these bars but you won't be staying for long because you are aiming for the big time. THE BIG TIME Getting a residency should be like applying for any other job, you will need references, a r�sum� and examples of your work. By now you should be able to get some good references off the bar's you've been working, your r�sum� should be geared towards your spinning ability and as for work examples, well, it's time to mix some CD's. You will need 2 CD's to show your mixing skills, one should be a warm-up set and the other should be a main set, make sure the mixing on both is perfect and as for track selection keep it original but not too obscure, people are happy to pump away to anything as long as there are floor fillers in between that they know and love to dance to. Presentation is very important, make sure everything you submit looks professional but don't go over the top. Now you have your killer package, it's time to distribute it. Look for people that you know from your bars with contacts and get them to hand it over, you should be targeting, the club managers, booking agents and most importantly the promoters. With a bit of luck someone will give you a trial, which, if you are good enough will turn into a residency. From here anything is possible but remember it takes a lot of work to get here but I'm sure it will be worth it. Good Luck.

100 Greatest Songs in 1983

Songs listed are from Rock 'n' Roll and related sub-genres

1 Every Breath You Take-Police 2 Girls Just Want To Have Fun-Cyndi Lauper 3 Jump -Van Halen 4 Flashdance What a Feeling - Irene Cara 5 All Night Long (All Night)- Lionel Richie 6 Blue Monday - New Order 7 Relax - Frankie Goes To Hollywood 8 Time After Time - Cyndi Lauper 9 Let's Dance - David Bowie 10 Karma Chameleon - Culture Club 11 Holiday - Madonna 12 Rockit - Herbie Hancock 13 She Works Hard For the Money - Donna Summer 14 Love is a Battlefield - Pat Benatar 15 Radio Free Europe (I.R.S. version) R.E.M. 16 Legs ZZ Top 17 Sunday, Bloody Sunday U2 18 Pink Houses John Cougar Mellencamp 19 Maniac Michael Sembello 20 Photograph Def Leppard 21 Burning Down the House Talking Heads 22 Ain't Nobody Rufus & Chaka Khan 23 It's Like That Run-D.M.C. 24 Here Comes the Rain Again Eurythmics 25 Cruel Summer Bananarama 26 Let the Music Play Shannon 27 White Lines (Don't Do It) Grandmaster Flash & Melle Mel 28 99 Luftballoons Nena 29 Owner of a Lonely Heart Yes 30 Red Red Wine UB40 31 Somebody's Watching Me Rockwell 32 New Year's Day U2 33 This Charming Man Smiths 34 True Spandau Ballet 35 Borderline Madonna 36 Jump (For My Love) Pointer Sisters 37 One Thing Leads To Another The Fixx 38 Separate Ways (Worlds Apart) Journey 39 Heaven Bryan Adams 40 Authority Song John Cougar Mellencamp 41 Hello Lionel Richie 42 In a Big Country Big Country 43 Uptown Girl Billy Joel 44 Rebel Yell Billy Idol 45 Talking in Your Sleep Romantics 46 Juicy Fruit Mtume 47 Faithfully Journey 48 Hold Me Now Thompson Twins 49 Lucky Star Madonna 50 Undercover of the Night Rolling Stones 51 Modern Love David Bowie 52 Middle of the Road Pretenders 53 Islands in the Stream Kenny Rogers duet with Dolly Parton 54 Sharp Dressed Man ZZ Top 55 Wrapped Around Your Finger The Police 56 Gimme All Your Lovin' ZZ Top 57 Pride and Joy Stevie Ray Vaughan & Double Trouble 58 Tonight I Celebrate My Love Peabo Bryson and Roberta Flack 59 Church of the Poison Mind Culture Club 60 Overkill Men At Work 61 I Guess That's Why They Call It the Blues Elton John 62 China Girl Davie Bowie 63 Jeopardy Greg Kihn Band 64 Joanna Kool & The Gang 65 Big Log Robert Plant 66 Mama Genesis 67 Crumblin' Down John Cougar Mellencamp 68 Between the Sheets Isley Brothers 69 No Parking (On the Dancefloor) Midnight Star 70 Stand Back Stevie Nicks 71 The Heart of Rock and Roll Huey Lewis & The News 72 Yah Mo B There James Ingram and Michael McDonald 73 That's All Genesis 74 Eyes Without a Face Billy Idol 75 King of Pain Police 76 Nobody Told Me John Lennon 77 Rock of Ages Def Leppard 78 Cuts Like a Knife Bryan Adams 79 Cum on Feel the Noize Quiet Riot 80 Sister Christian Night Ranger 81 Mr. Roboto Styx 82 Just Be Good To Me S.O.S. Band 83 Everyday I Write the Book Elvis Costello 84 In the Mood Robert Plant 85 Sunglasses At Night Corey Hart 86 Break My Stride Matthew Wilder 87 New Song Howard Jones 88 I Want a New Drug Huey Lewis & The News 89 Bang Your Head (Metal Health) Quiet Riot 90 Automatic Pointer Sisters 91 Cold Blooded Rick James 92 Dance Hall Days Wang Chung 93 Synchronicity II The Police 94 What Is Love? Howard Jones 95 Rainbow in the Dark Dio 96 Lawyers in Love Jackson Browne 97 This Is Not a Love Song Public Image Ltd. 98 All Night Long Mary Jane Girls 99 Moments in Love Art of Noise 100 Sucker MCs Run-D.M.C. 20 more worth mentioning. 101 I Love L.A. Randy Newman 102 The Reflex Duran Duran 103 Say, Say, Say Paul McCartney & Michael Jackson 104 Love Wars Womack & Womack 105 Get the Balance Right Depeche Mode 106 Neutron Dance Pointer Sisters 107 Say It Isn't So Daryl Hall & John Oates 108 The Politics of Dancing Re-Flex 109 Tell Her About It Billy Joel 110 Original Sin INXS 111 Never Gonna Let You Go Sergio Mendes 112 On the Dark Side John Cafferty & The Beaver Brown Band 113 Tour De France Kraftwerk 114 Institutionalized Suicidal Tendencies 115 Hand in Glove Smiths 116 Shipbuilding Elvis Costello 117 Screaming in the Night Krokus 118 Confusion New Order 119 Clear Cybotron feat. Juan Atkins 120 So Many Men, So Little Time Miquel Brown

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