San Diego Turntable Institution is closing its doors

It is with great sadness that we announce the San Diego Turntable Institution is closing its doors.  Last week we suffered a major flood that destroyed the building that housed our school.  The damage is beyond repair and is forcing us to shut down.  We appreciate your patience and understanding as we figure out how to accommodate all of our remaining students who still have classes.  Please contact us at SDTURNTABLEINSTITUTION@GMAIL.COM if you have any questions or if you have an open contract with us.  Thank you so much to our loyal friends, family, and talented students that have made us great.

This slideshow requires JavaScript.

Famed sitarist Ravi Shankar dies at 92,0,2682331.story



Beatle George Harrison, left, with Ravi Shankar in 1967. (December 11, 2012)

December 11, 2012, 8:49 p.m.

Ravi Shankar, the revered master of the sitar who introduced Indian music to much of the Western world, died Tuesday in San Diego County. He was 92.

Shankar  was a hippie musical icon of the 1960s, playing  at  Woodstock and hobnobbing with The Beatles.

In 1966 the Indian musician met Beatle George Harrison,  who became his most famous disciple and gave the musician-composer unexpected pop-culture cachet. Harrison labeled Shankar “the godfather of world music.”

Shankar continued to give virtuoso performances into his 90s, including one in 2011 at Walt Disney Concert Hall.

In New Delhi, the Inidan prime minister’s office confirmed Shankar’s death and called him a “national treasure.”

The sitarist  also pioneered the concept of the rock benefit with the 1971 Concert For Bangladesh. To later generations, he was known as the estranged father of popular American singer Norah Jones.

Shankar collaborated with Harrison, violinist Yehudi Menuhin and jazz saxophonist John Coltrane as he worked to bridge the musical gap between the West and East.

Describing an early Shankar tour in 1957, Time magazine said “U.S. audiences were receptive but occasionally puzzled.”

His close relationship with Harrison, the Beatles lead guitarist, shot Shankar to global stardom in the 1960s.

Harrison had grown fascinated with the sitar, a long necked, string instrument that uses a bulbous gourd for its resonating chamber and resembles a giant lute. He played the instrument, with a Western tuning, on the song “Norwegian Wood,” but soon sought out Shankar, already a musical icon in India, to teach him to play it properly.

The pair spent weeks together, starting the lessons at Harrison’s house in England and then moving to a houseboat in Kashmir and later to California.

Gaining confidence with the complex instrument, Harrison recorded the Indian-inspired song “Within You Without You” on the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” helping spark the raga-rock phase of 60s music and drawing increasing attention to Shankar and his work.

Shankar’s popularity exploded, and he soon found himself playing on bills with some of the top rock musicians of the era. He played a four-hour set at the Monterey Pop Festival and the opening day of Woodstock.

Though the audience for his music had hugely expanded, Shankar, a serious, disciplined traditionalist who had played Carnegie Hall, chafed against the drug use and rebelliousness of the hippie culture.

“I was shocked to see people dressing so flamboyantly. They were all stoned. To me, it was a new world,” Shankar told Rolling Stone of the Monterey festival.

While he enjoyed Otis Redding and the Mamas and the Papas at the festival, he was horrified when Jimi Hendrix lit his guitar on fire.

“That was too much for me. In our culture, we have such respect for musical instruments, they are like part of God,” he said.

In 1971, moved by the plight of millions of refugees fleeing into India to escape the war in Bangladesh, Shankar reached out to Harrison to see what they could do to help.

In what Shankar later described as “one of the most moving and intense musical experiences of the century,” the pair organized two benefit concerts at Madison Square Garden that included Eric Clapton, Bob Dylan and Ringo Starr.

The concert, which spawned an album and a film, raised millions of dollars for UNICEF and inspired other rock benefits, including the 1985 Live Aid concert to raise funds for famine relief in Ethiopia and the 2010 Hope For Haiti Now telethon.

Ravindra Shankar Chowdhury was born April 7, 1920, in the Indian city of Varanasi.

At the age of 10, he moved to Paris to join the world famous dance troupe of his brother Uday. Over the next eight years, Shankar traveled with the troupe across Europe, America and Asia, and later credited his early immersion in foreign cultures with making him such an effective ambassador for Indian music.

During one tour, renowned musician Baba Allaudin Khan joined the troupe, took Shankar under his wing and eventually became his teacher through 7 1/2 years of isolated, rigorous study of the sitar.

“Khan told me you have to leave everything else and do one thing properly,” Shankar told The Associated Press.

In the 1950s, Shankar began gaining fame throughout India. He held the influential position of music director for All India Radio in New Delhi and wrote the scores for several popular films. He began writing compositions for orchestras, blending clarinets and other foreign instruments into traditional Indian music.

And he became a de facto tutor for Westerners fascinated by India’s musical traditions.

He gave lessons to Coltrane, who named his son Ravi in Shankar’s honor, and became close friends with Menuhin, recording the acclaimed “West Meets East” album with him. He also collaborated with flutist Jean Pierre Rampal, composer Philip Glass and conductors Andre Previn and Zubin Mehta.

“Any player on any instrument with any ears would be deeply moved by Ravi Shankar. If you love music, it would be impossible not to be,” singer David Crosby, whose band The Byrds was inspired by Shankar’s music, said in the book “The Dawn of Indian Music in the West: Bhairavi.”

Shankar’s personal life, however, was more complex.

His 1941 marriage to Baba Allaudin Khan’s daughter, Annapurna Devi, ended in divorce. Though he had a decades-long relationship with dancer Kamala Shastri that ended in 1981, he had relationships with several other women in the 1970s.

In 1979, he fathered Norah Jones with New York concert promoter Sue Jones, and in 1981, Sukanya Rajan, who played the tanpura at his concerts, gave birth to his daughter Anoushka.

He grew estranged from Sue Jones in the 80s and didn’t see Norah for a decade, though they later re-established contact.

He married Rajan in 1989 and trained young Anoushka as his heir on the sitar. In recent years, father and daughter toured the world together.

When Jones shot to stardom and won five Grammy awards in 2003, Anoushka Shankar was nominated for a Grammy of her own.

Shankar, himself, has won three Grammy awards and was nominated for an Oscar for his musical score for the movie “Gandhi.”

Despite his fame, numerous albums and decades of world tours, Shankar’s music remained a riddle to many Western ears.

Shankar was amused after he and colleague Ustad Ali Akbar Khan were greeted with admiring applause when they opened the Concert for Bangladesh by twanging their sitar and sarod for a minute and a half.

“If you like our tuning so much, I hope you will enjoy the playing more,” he told the confused crowd, and then launched into his set.

Serato DJ Software Download

Serato DJ software is available free of charge from the below website.

Applicable model
[DJ Controller] DDJ-SX

Please refer to the Operating Instructions.

Please refer to the Hardware diagram for Serato DJ.


When Serato DJ is launched after Ver1.1.0 is installed, a yellow icon saying “ACTIVATE/BUY Serato DJ” might be displayed in the License section on the right side of the Serato DJ screen.
DDJ-SX users do not have to activate or buy Serato DJ.
If you tick the check box of [DO NOT SHOW AGAIN] and click [License], the icon will disappear thereafter.

Simple Sync:
Serato DJ 1.1 introduces Simple Sync functionality for both 2 and 4 deck controllers.
Simple Sync is an easy way of Tempo Matching and Transient Snapping your tracks together without using beatgrids.
You will notice Simple Sync is selected when you run 1.1 for the first time.

If you would like to continue using Smart Sync (as you were in version 1.0) you simply need to go to the Serato DJ Setup screen and select ‘Smart Sync’ as your Sync type in the DJ Preferences tab.

Your sync option will be remembered when you close and re-open the software.

Downloading the Serato DJ software manual

The Serato DJ software manual is aveilable from the website below.

For details, please refer to the “Downloading the Serato DJ software manual” within the Operating Instructions.

Operating environment for Serato DJ

Minimum operating environment

CPU / Required memory

[Mac OS X 10.6.8, 10.7.4, 10.8 32-bit version]
Intel® processor, Core™ 2 Duo 2.0 GHz or better
1 GB or more RAM

[Mac OS X 10.6.8, 10.7.4, 10.8 64-bit version]
Intel® processor, Core™ 2 Duo 2.4 GHz or better
4 GB or more RAM

[Windows®: Windows®7 32-bit version]
Intel® processor, Core™ 2 Duo 2.0 GHz or better
2 GB or more RAM

[Windows: Windows®7 64-bit version]
Intel® processor, Core™ 2 Duo 2.4 GHz or better
4 GB or more RAM

-Operation is not guaranteed on all computers,
even if all the required operating environment conditions indicated here are fulfilled.
-Depending on the computer’s power-saving settings, etc., the CPU and hard disk may not provide sufficient processing capabilities.
For laptop in particular, make sure the computer is in the proper conditions to provide constant high performance
(for example by keeping the AC power connected) when using Serato DJ.

The Twisted Christhanakwanzakah Holiday Special! by DJ Otis Galloway

The Twisted Christhanakwanzakah Holiday Special! cover image

it’s christmas time tino amazon
fuck christmas fear amazon
the christmas wrong the evolution control committee amazon
the 12 (drunk) days of christmas fay mckay amazon
time to pretend mgmt amazon
christmas time is here (markus enoshon remix) vince guaraldi trio amazon
christmas night of zombies mxpx amazon
wonderful christmas time paul mccartney amazon
father christmas the kinks amazon
the 12 days of christmas space ghost & co. amazon
santa looked a lot like daddy reverend horton heat amazon
death of mary, queen of scots monty python amazon
mary’s boy child/oh my lord boney m. amazon
it’s a wizzleteats kind of christmas ren & stimpy amazon
i want an alien for christmas fountains of wayne amazon
christmas card from a hooker in minneapolis

Most expensive items sold in Discogs Marketplace for October 2012

The most expensive item sold in October 2012 was Fun Things EP by The Fun Things, released on Vinyl by EMI Custom Records, which sold for $1375.00. This is a new high for this release. View current sales history. Watch music videos for this release here.


Vinyl leads this month’s list at 93% of formats. In second we have CD with 20%. Right behind #2 we find Box Set with 17%. US represents over a quarter the release countries at 30%. In second we have UK with 17%. Right behind #2 we find Italy with 13%. Germany appear on 10% of the release countries. 1990 and 2011 are the lead years this month. 10% of the releases this month came from 1990 and 2011.

More than a quarter of the genres this month are Rock representing 50%. In second we have Electronic with 37%. The third most common genre this month is Funk / Soul with 13%. Appearing 3 times we find Pop. Experimental, Psychedelic Rock, and Punk are the most common styles this month. 13% of the releases this month came from Experimental, Psychedelic Rock, and Punk. Coming in a close second is Acoustic with 10%.

The top buyers were from Japan at 33%. 10% of buyers were from France and United States. The top sellers were from Germany at 20%. 17% of sellers were from United States. France represents 13% of sellers.

Jazz pianist Dave Brubeck dead at age 91,0,7126256.column

Dave Brubeck, a jazz musician who attained pop-star acclaim with recordings such as “Take Five” and “Blue Rondo a la Turk,” died Wednesday morning at Norwalk Hospital, in Norwalk, Conn., said his longtime manager-producer-conductor Russell Gloyd.

Brubeck was one day short of his 92nd birthday. He died of heart failure, en route to “a regular treatment with his cardiologist,” said Gloyd.

Throughout his career, Brubeck defied conventions long imposed on jazz musicians. The tricky meters he played in “Take Five” and other works transcended standard conceptions of swing rhythm.

The extended choral/symphonic works he penned and performed around the world took him well outside the accepted boundaries of jazz. And the concerts he brought to colleges across the country in the 1950s shattered the then-long-held notion that jazz had no place in academia.

As a pianist, he applied the classical influences of his teacher, the French master Darius Milhaud, to jazz, playing with an elegance of tone and phrase that supposedly were the antithesis of the American sound.

As a humanist, he was at the forefront of integration, playing black jazz clubs throughout the deep South in the ’50s, a point of pride for him.

“For as long as I’ve been playing jazz, people have been trying to pigeonhole me,” he once told the Tribune.

“Frankly, labels bore me.”

He is survived by his wife, Iola; four sons and a daughter; grandsons and a great granddaughter.

Dr. Dre Rakes In $110 Million, Reigns As “The World’s Highest Paid Musician”

Forbes’ does what they do best: count other people’s money. And when all the number-crunching was done, the title of highest paid musician for 2012 went to none other than Dr. Dre, who ironically made the bulk of his bread outside of the recording booth, courtesy of, you guessed it, his line of Beats headphones, earphones and accessories.

“Hip-hop superproducer Dr. Dre leads the pack this year with $110 million, thanks largely to his Beats headphone line. He collected $100 million pretax when handset maker HTC paid $300 million for a 51% stake in the company last year, at the beginning of our scoring period; he and his partners later bought back half of what they sold.

‘The brands are so aligned, Dre and Beats, it’s just who he is,’ says Kevin Liles, former president of Def Jam Recordings, who now manages acts ranging from Young Jeezy to Trey Songz. ‘If you look at the biggest earners, the guys have been doing it for 20 years … what’s happening now is people are really telling their truth.’”

What’s even more impressive is how far Dre was ahead of the second best earner on the list, Roger Waters of Pink Floyd, who did well for himself ($88 million) but still trailed by nearly $30 million.

Full list of musical money-makers below.

01. Dr Dre – $110 Million
02. Roger Waters – $88 Million
03. Elton John – $80 Million
04. U2 – $78 Million
05. Take That – $69 Million
06. Bon Jovi – $60 Million
07. Britney Spears – $58 Million
08. Paul McCartney – $57 Million (tie)
08. Taylor Swift – $57 Million (tie)
10. Justin Bieber – $55 Million (tie)
10. Toby Keith – $55 Million (tie)
12. Rihanna – $53 Million
13. Lady GaGa – $52 Million
14. Foo Fighters – $47 Million
15. Diddy – $45 Million (tie)
15. Katy Perry – $45 Million (tie)
17. Kenny Chesney – $44 Million
18. Beyoncé – $40 Million
19. Red Hot Chili Peppers – $39 Million
20. Jay-Z – $38 Million
21. Coldplay – $37 Million
22. Adele – $35 Million (tie)
22. Kanye West – $35 Million (tie)
24. Michael Bublé – $34 Million
25. Sade – $33 Million

Legal Concerns for DJs: Negotiating a DJ Contract



Negotiating a DJ performance contract can be a tricky thing, but doing it right is an essential step in turning your hobby into a career. Today, we discuss considerations for DJs that sign performance agreements, and provide some tips for minimizing risk and maximizing return. In a new column, Legal Concerns for DJs, our favorite lawyer and legal expert Noah Sutcliffe shares his tips to making your paperwork quite a bit easier!


Contracts and Riders

Any music performance agreement has two parts: the basic contract and the rider. Let’s start by breaking them down and figuring out which covers what!

The basic contract generally identifies the parties and covers the date, time, fee, and any payment splits or guarantees if the fee is scalable based on attendance, bar sales, etc. A radius clause (limiting performances in the same geographic area before and after the show) might also appear in the basic contract.

The rider covers everything else – from cancellation policy to transportation, equipment, comps to catering preferences. The reason for this division into basic contract and rider is that different DJs (and different musical acts of all varieties) have vastly different needs, expectations, and levels of bargaining power. At the same time, it’s likely that a given DJ will have the same needs and expectations for any gig he plays at a given stage in his career. The rider provides an easy way for that DJ to ensure his needs are met without having to rewrite a standard form contract every time he plays a show.

In most cases, the basic contract is provided by the club and the rider is provided by the DJ. From time to time, you may see the basic contract discuss a term that is also discussed in the rider. This is only relevant if the terms contradict each other in any way. If that happens, the best way to ensure that the term in the rider will prevail is to include language in the rider itself that says something like:

“In the event a discrepancy should arise between the provisions of this Rider and the provisions of any other part of this Agreement, the provisions of this Rider shall apply.”


The basic contract will generally be on a form provided by the club and will look very simple – to the point where if you stand far enough back, you may think you’re looking at an invoice from a hardware store. The first part you’ll want to examine is the fee section.

In addition to the amount specified, the fee section will likely include information about the payment schedule and (possibly) the cancellation policy. The payment schedule describes when and how you will be paid. Obviously in the perfect situation, you’d be paid 100% of your fee up front. This almost never happens, even for big name artists. The club wants to make sure that you show up, and they don’t want to be chasing you down to get their money back if you don’t.

The cancellation policy describes what will happen to your fee if the show doesn’t end up taking place. Part of the cancellation policy will deal with horrible eventualities like fire, flood, strike, or nuclear attack. Equally important (though less visually evocative) are common occurrences like illness, transportation delays, and closure of the club by local authorities. The most important thing with respect to all of these is that you not be responsible for any loss or damage that results from your inability to perform due to circumstances beyond your control. You don’t want to end up being sued by the club because you were too ill to walk, or because your car was destroyed by vandals hours before your set. The other part of the cancellation policy deals with voluntary cancellation, or the situation where either you or the club decide to terminate the contract before your performance.

The ideal payment proposal that I recommend to my clients here is 50% of the fee due on signing and 50% due within an hour after the set is complete. The initial 50% should be non-refundable in every event except the DJs voluntary cancellation. This is good for the club and the DJ because it gives both an interest in completing the contract: the club has an initial investment in the DJ and the DJ needs to play to receive the full fee. It also allows the DJ to settle for a less protective cancellation policy because the up-front portion of the fee covers the opportunity cost if the show doesn’t take place.

If the club refuses to pay anything in advance (which clubs often do), then try for language that says the club owes 50% of the fee if they cancel within 48 hours of set time, or 100% if they cancel within 24 hours. If even that fails, you can ask for a rebooking provision that requires the club to book you again if they cancel.

For many DJs, the potential to play at a big–name club may be worth more than the security of guaranteed money or a cancellation fee. But, once you’re a “working artist” with income expectations, it makes sense to strive for these terms.


Next up, equipment you put in your rider. Ask for your ideal setup as far as mixer, turntables, CDJs, monitors, mics, P/A, lighting, power sources, and anything else that matters for your set. Be specific! The club can always say no or ask if you’ll settle for something else, but try for the best setup possible. When it comes to the mixer, CDJs, or turntables (if you use them), give actual model numbers and specify that they must be approved in advance. With the other equipment, technical specifications will usually suffice, but it will help the club get you the right gear if you also suggest particular models that fit your criteria. Finally, include an outward time limit for sound-check so that you have the opportunity to make sure everything is working properly.

Best not to have your personal mixer anywhere near this. // Photo Credit: Derek Dix,

You may be saying to yourself, I already have my own DJM-900, why don’t I just bring it? Here’s why:

  • It’s better to carry less
  • You’re likely to be playing on a bill with others. You want to be able to mix in, or at the very least have levels set when you start. This isn’t possible if everything has to be broken down between sets.
  • By not bringing your own equipment, you will ensure that your gear is safe at home while Steve Aoki pours champagne on someone else’s $2,000 mixer.

On that note, be sure to specify that the club’s insurance will cover any damage to the gear you do bring.

Stage furnishings are another vitally important section of your rider, and specificity is of paramount importance here. Make sure to specify the table height you need and any stools, chairs, lamps or fans that you want as well. Food, drink, and guest-list comps are also included in the rider, but these will obviously vary greatly with the level of club and performer. Finally, if the gig is in another state or country, don’t forget to include transportation, lodging, and a per diem, as these can quickly amount to more than the performance fee.

Marketing, Publicity, and General Provisions

The rider also allows you to specify how you want yourself billed for a performance, and at a minimum to ensure that you’re included in all promotional materials related to the show. Those are especially important if you’re opening for big-name artists, so that you can piggy-back on their exposure.

In order to use your information in their promo materials, a club will likely ask for a temporary license to use your name, likeness, and potentially copyrighted material for the purposes of promoting the show. Just make sure that such a license is temporary, and that it doesn’t include allowing the club to distribute any material (including music, performance videos, mixtapes or compilations) that might be prohibited by your record deal.

General provisions for club security, non-transferability and other general provisions like an indemnity are often included in the rider as well. Suffice it to say that non-transferability means that you can’t sub in someone else to play your set and still collect the fee; and indemnities . . . well you can read about those here.

Sign Me Up!

Those are the basic elements of a DJ performance agreement and some ways you can make them work for you. In closing, let me leave you with a couple of basic tips:

1) Always know the position from which you’re negotiating: don’t take risks if you don’t have to; but on the flip-side, be aware that if you’re too demanding you may risk losing a deal completely.

2) It’s almost always impossible to get everything you want in a contract, but it’s almost always possible to get a particular thing you want in more than one way. If a club rejects some part of your rider that you feel you need, try adding something else that will offset that change.

3) In every case, use the plainest, simplest language possible. The language in most simple contracts is far more complicated than it needs to be. For real legal advice and protection, you should always be represented by counsel, but in the event that you need to make a change to your rider on your own, your best bet is to write exactly what you mean in plain English.


Calvin Harris DJ controversy highlights the fading artistry of club culture


Calvin Harris DJ controversy highlights the fading artistry of club culture

The latest mania for US electronic dance music takes its cue from stadium rock rather than the spontaneity of club culture

Calvin Harris and Rihanna

Singer Rihanna performs with Calvin Harris at the 2012 Coachella Valley music and arts festival. Photograph:

Back in the mid-90s, an act from the record label I ran at the time was selected to appear on Top of the Pops. But when we went to meet the American duo at Heathrow, neither of them got off the plane: they had decided to stay at home. Eventually, we hired two actors to play the role of DJ and keyboard player. They looked the part and no one seemed to notice. I was reminded of this episode yesterday when reading that DJ Calvin Harris has threatened legal action against the BBC for quoting him in a Radio 1 Newsbeat programme in which he appears to endorse prerecorded DJ sets.

Like wrestling in the 1970s, there’s always been an element of knowing subterfuge in dance music. Since much of the alchemy of the 12-inch mix is often down to one person and a bunch of machines, it does not always translate well to live performance. The real magic is when a skilled DJ and a box of records – or laptop or memory stick, as it increasingly is today – take those solitary studio moments and turn them into something communal and occasionally transcendental, with the assistance of a packed dancefloor.

But where there’s brass there’s muck and the latest mania for EDM (an acronym for electronic dance music) in the US has brought with it a whole new set of rules. EDM has effectively bypassed the club culture on which house and techno were founded and gone straight for the stadiums and festival jugular. Judging by the many clips on YouTube, its stars have taken their cues from rock stars rather than the clubbers who helped to create dance culture around the skill of DJs such as Frankie Knuckles. This new breed of star DJ is not content to be hidden away in a booth with a tiny slit, like Junior Vasquez was at New York’s seminal Sound Factory. Instead they mosh and crowd surf (DJ Steve Aoki was hospitalised after an incident involving a trampoline last week: he’s clearly no Nils Lofgren) from their elevated stage, while the crowd look on, shuffling and whooping. Worse still, some of them are alleged to perform to the kind of pre-mixed sets that have caused the Calvin Harris controversy.

Prerecording sets is a curious phenomenon, because it’s the live interaction between DJ and dancefloor where the real fun occurs. Without the ability to change the mood, change the tempo, change the style, you’re nothing more than a jukebox that needs a toilet break every so often. It’s what makes DJing more elastic and versatile than, say, a rock band, whose members are tied to their audience by the songs they know and have rehearsed. Good DJs have the world of recorded music at their disposal. Half the pleasure of playing is to seamlessly go from an Underground Resistance tune into a Queen B-side before anyone realises what’s happening. Prerecording misses the point entirely. Like the trend towards ghostwritten tracks (as documented in the latest issue of Mixmag), it’s all part of the same culture that has grown up around, but not truly connected to, the roots of club culture.

Two seasons ago, I spent a night checking out all the big clubs in Ibiza and was struck by how surprisingly dull a lot of it is these days. Tiesto’s performance at Privilege looked like 10,000 people waiting for the world’s largest bus to arrive. Those supernatural nights where the DJ appears to be communicating personally with each member of the dancefloor were nowhere to be seen. What marks out these events is how little interaction there is between DJ and audience. The audience consumes rather than participates, foregoing any form of empathetic experience in favour of bland ingestion (and usually faithfully documented by the cancerous presence of a thousand camera phones held aloft). A great DJ can coax you into places you didn’t know you wanted to go until you get there. It’s what marks them out from a ninny with too many tattoos playing a CD.