Latest DMC Monthly Promo Only of Radio Edit & Remix Chart Music DJ CDs

Latest DMC Monthly Promo Only of Radio Edit & Remix Chart Music DJ CDs

Track Listing

Disc One

1. Alok, Sigala & Ellie Goulding ‘All By Myself’ (Clubmix Radio) 2.54 126

2. Armand Van Helden & Karen Harding ‘Wings (I Wont Let You Down)’ (Radio) 2.50 126

3. Belters Only ‘Superstar’ (Radio) 3.34 127

4. Colorblast ‘Message In A Bottle’ (Until Dawn 1999 Club Remix) 2.44 126

5. Crazy Cousinz & Salena Mastroianni ‘Plan B’ (Radio) 2.38 124

6. Kx5, deadmau5, Kaskade Fe. The Moth & The Flame ‘Alive’ (Radio) 3.26 124

7. DJ SKT & Mark Maxwell ‘Got Your Money’ (Radio) 2.36 126

8. DJ Susan ‘Hush’ (Radio) 3.14 126

9. Fatboy Slim ‘The Rockafella Skank’ (Jay Robinson Remix Edit) 3.31 124

10. GHSTGHSTGHST ‘Spread Love’ (Radio) 2.49 128

11. HOLA! Fe. Max Cardona ‘Bring You Back’ 3.08 124

12. Jack Garratt ‘Just How I Like It’ (Dance Version) 2.54 128

13. Jack Wins Fe. Franky ‘Have It All’ (Original) 3.08 125

14. KH ‘Looking At Your Pager’ (Chris Lake Remix) 3.37 126

15. M22 & Ella Henderson ‘Heartstrings’ (VIP Extended) 4.17 127

16. Max Styler & Notelle ‘Move My Feet’ (Original) 3.15 126

17. Movada ‘Level Up’ (Radio) 2.24 124

18. PBH & Jack ‘Feelin’ Me’ (Radio) 2.36 125

19. Prospa ‘Made 4 U’ (Original) 3.37 130

20. Riton, Major League Djz & King Promise Fe. Clementine Douglas ‘Chale’ (Amapiano Remix) 2.36 112

21. Royal Hustle ‘Feels Like’ (Radio) 2.32 125

22. Sigala & Gabry Ponte & Alex Gaudino ‘Rely On Me’ (Radio) 2.53 125

23. The Blessed Madonna ‘Serotonin Moonbeams’ (Clean Radio) 3.26 131

24. Tidy ‘Time On You’ 2.30 128

25. Tuff ‘London & Lisa Rudy ‘Hold On’ (Original) 2.59 125

26. W&W & Ben Nicky & Kevu ‘Freed From Desire’ (Radio) 2.59 130

Disc Two

1. Afrojack Fe. James Arthur ‘Lose You’ (Radio) 2.32 142

2. Ava Max ‘Weapons’ 2.28 170

3. Bananarama ‘Running With the Night’ (Almighty Remix Radio) 3.28 120

4. Ben Liebrand & Ojam ‘Running Away’ (Radio) 3.14 118

5. Clean Bandit & Elley Duhe ‘Don’t Leave Me Lonely’ (Punctual Radio) 3.41 130

6. Dance System Fe. DJ Deeon ‘Work It’ (Radio) 2.29 134

7. David Guetta & Morten Fe. Raye ‘You Can’t Change Me’ 2.47 128

8. Party Animals ‘Sweet Caroline 2022’ 3.36 129

9. Felix Jaehn & Ray Dalton ‘Call It Love’ (Klingande Remix Extended) 3.44 122

10. Galantis, David Guetta & MNEK ‘Damn’ (Radio) 3.13 122

11. Joel Corry & Tom Grennan Fe. Martin Tyler ‘Lionheart (Come On England)’ 3.15 126

12. Kommunion ‘Lose My Cool’ (Radio) 2.57 120

13. LF System ‘Hungry (For Love)’ 2.53 128

14. Lewis Thompson Fe. Clementine Douglas ‘Enchante’ (Radio) 2.44 121

15. Louis Tomlinson ‘Out Of My System’ 2.14 162

16. Objectz & Jesse Rae ‘Loch Lomond’ 2.50 128

17. Parx Fe. Aya Anne ‘Touch’ (Radio) 2.40 124

18. Patrick Topping ‘Keep On Moving’ (Radio) 3.36 129

19. Poppy Baskcomb Fe. Jess Bays ‘Lovefool’ (Radio) 2.58 121

20. Regard & Drop G ‘No Love For You’ (Radio) 2.57 124

21. Skylar ‘Double Denim’ (Clean) 2.32 108

22. Soft Cell ‘Last Chance’ (Christmas Mix) 3.36 125

23. Sonique ‘It Feels So Good’ (Night Moves Remix Radio) 3.22 128

24. Stormzy ‘Firebabe’ (Radio) 3.20 127

25. Taylor Swift ‘Lavender Haze’ (Clean) 3.19 97

26. Tiesto Fe. Tate McRae ‘10-35’ (Radio) 2.51 120

This content was originally published here.

Hanteo Chart Honors 30th Anniversary Through Offline Music Awards | KpopStarz

To commemorate its 30th anniversary, Hanteo Chart will lead the event Hanteo Music Awards 2022. 

Keep on reading for all the details

Hanteo Charts To Commemorate 30th Anniversary

Hanteo posted its announcement and is anticipated by many, knowing that it will be the first award show Hanteo will host.


According to Hanteo Global CEO Kwak Young Ho, the event will be hosted at Jamsil Indoor Gymnasium in Seoul, starting from February 10 to 11, 2023. He added that Hanteo Music Awards will be held annually in the format of an offline ceremony.

The ceremony is a must-watch for K-pop fans, given how much K-pop gave impact and success to the music industry throughout the years.

(Photo : @Hanteo_HMAs)
Hanteo Music Awards 2022

Seeing how the music styles evolved, it’s also a delight for fans who appreciates every genre. It is without a doubt that Hanteo has played an enormous role in propelling the Korean music industry in its peaks, until now. It is the first music chart in Korea to accompany the K-pop industry to collect real time data and analyze its chart for artists’ releases.

CEO Kwak Young Ho added:

“This award ceremony will be a meaningful occasion to look back on the history of Hanteo Chart and look back on 30 years of K-pop. We will make it a place where many global fans can enjoy it together.” 

More details about the event will be announced soon.

Hanteo’s Humble Beginnings

To traverse through its history, Hanteo was founded in 1988, where it was designed to collect album sales in real time and analyze data. It is the biggest chart system associated with the Korean music industry, followed by Gaon.

The difference between Gaon and Hanteo is that Gaon computes the total of produced albums, without including the sales, so it will be difficult to assess how much of release’s popularity can arise.

Gaon charts are usually used for awardings by the end of the year.

Meanwhile, Hanteo calculates actual sales in real time basis. It’s system records data only for confirmed and purchased items. It is utilized in music show calculations such as Inkigayo, Show Champion, Music Bank, etc. It is considered a “record of individual album sales” from either physical products or digital releases.

GaOn vs Hanteo. Please read. pic.twitter.com/41Esuidxyp

— bora 💜 (slow) (@bora_twts)

Hanteo has grown with the Korean music industry for three decades, and will most likely be of service for years to come. The system is synchronized in over 1,500 records stores worldwide, while giving quality management of the album sales, data, and tracking of digital releases.

K-pop fans will be assured where their purchases will go and how will it affect on the charts. Considering Hallyu wave’s current popularity, it only adds up to more successful groups, artists and music quality.

Would you attend the upcoming ceremony? Comment below and let us know!

Read KpopStarz for more K-pop news.

KpopStarz owns this article

Written by Riely Miller

This content was originally published here.

Winning The Adoption Jackpot: An Interview with Chart-topping Country Music Singer and Songwriter, JT Harding Adopting

With more than 100,000 kids in the United States waiting for their forever
families, it’s months like National Adoption Month that are necessary to spark the
conversation around adoption.

And it’s why chart-topping country music singer and songwriter, JT Harding, who
has worked with powerhouses like Kenny Chesney, Blake Shelton and Keith Urban to
name a few, is on a mission to share the beautiful stories that come from adopting.

Harding, who is the author of the book “Party Like A Rockstar: The Crazy,
Coincidental, Hard-Luck, and Harmonious Life of a Songwriter
,” was adopted as an
infant and says he “won the jackpot.” This month, he is teaming up with fellow adoptee
Nicole Koury to share what adoption means to both of them and sharing their story
through song.

We recently had the opportunity to speak with Harding and Koury to learn more
about their adoption stories and the power behind the process.

JT, let’s start with you. You were adopted as an infant. Sometimes being an
adoptee can be a really rough road, but you’ve said that it has given you
incredible optimism. Tell us a little about your upbringing and the difference it’s
made, especially once you got out on your own, especially in light of National
Adoption Month.

JT: If being born is like a big Powerball game in the sky, when the ping-pong balls lined
up my birth date 3-16-1975 I won the biggest jackpot of all time. I was adopted by Larry
and Kendra Harding, my parents.

They loved me, they gave me a secure home and they encouraged me to always be
myself.

My parents were sports fanatics. Our doorbell chime was the Michigan State
University fight song. My brothers were great at football but I loved music. When I put
shoulder pads on they were covered in tinfoil spikes my mom helped me make to look
like the band KISS for Halloween. When the lakes froze over in Michigan I gripped a
hockey stick and used it as an air guitar as I lip synced to the radio while my friends
skated. My dad traded his highly coveted 50 yard line seats for concert tickets so I could
see my rock n’ roll heroes in action.

My dad said “you can do whatever you want to do in life, just do it your best”.

When I set out on my own I leaned on that advice. Would I have become a hit
songwriter without that upbringing? I don’t know maybe, but I also might have led a life
searching for a family like some people haunt 7-Eleven’s scratching lotto tickets with a
quarter, praying for a winner.



Nicole: I am so proud that things like National Adoption Month and Adopting.com
EXIST because it is such a large part of my story and is so important to who I am today
– sites and recognitions like these help people talk about adoption, learn more, and
become more open to the possibility!

Adoption changed my family’s life. I have never (ever) felt othered, separated, or
felt like an extraneous accessory around my family (immediate or extended). I’ve never
been introduced as “my adopted cousin,” or “my adopted niece.” That is just not our
jam. It might be for others, and that’s ok! But for us, this is what it is: family is family,
period. I have been showered with so much love from these people. My WHOLE entire
family (immediate and extended) were rooting for my parents to bring home a little baby
and make their family finally complete. And it started with Mum and Dad: no one would
have rooted for them if there wasn’t love there well before I came along! There were like
50 people waiting at the international arrivals gate at Logan airport when I came home!

I know that my story is different because I was adopted from the country of my
parents’ ethnic origin: it is a seamless fit, and I know not every adoptee has that
experience. Our shared faith, language, culture, food and more helped cultivate our
roots during my childhood. What was natural for my parents became natural for me.

Growing up, my bedtime story WAS my adoption story: I heard it every single
night! How my parents prayed for me, how badly I was wanted. Well into adulthood I
hear constantly how the whole village came together to support my parents during the
adoption process, after I came home, and after my Mum got sick. My parents never shy
away from sharing any of their trials and tribulations and what makes our family strong:
that includes their adoption journey. I think that’s what makes me strong, too.

What has it been like for you both to connect with each other and create a song
around your adoption experience?
JT:
When I facetimed Nicole to tell her she won the contest her smile lit up the room like
a Las Vegas marquee. It was wild to hear Nicole’s story about how she was zipped up in
a jacket and taken in a boat to get to America. I had a feeling it could be a song lyric.
She kept saying “ I can’t wait to tell my parents about winning the contest!” It reminded
me of myself and shows how strong her connection is with her family. Anything I’ve
done in my life that I’ve been excited about I couldn’t wait to call and tell my parents.

Nicole: J.T. is a salt-of-the-earth kind of guy. He makes anyone who meets him feel
right at home and it honestly feels like I’ve known him for years. On that Friday at 2:00
PM when he FaceTimed me to tell me I won the adoption contest, it was so much fun!
We clicked instantly, and there was pure joy radiating around the ether – we were
excited to meet (I was excited to win) and he was excited to have another person willing
to celebrate being adopted and share our stories with whomever wants to listen!

Connecting with J.T. has been a blessing – he is so talented, fun, easy to talk to,
and easy to work with – I am so grateful that he wrote his book and created this contest!
Songwriting can be difficult but it is so enjoyable and meaningful when you’re able to do
it alongside talent like J.T.

Can you tell us about the experience working on a song about adoption and what
that means to you both?
JT:
When I’m strumming a guitar to write a new song I like to start with a kernel of truth
and go from there. Hitting the “start meeting” button on Zoom I thought about the zipped
up jacket story and what a great metaphor for being loved that is. “Let’s write a song
called “Wrap Me Up In Your Arms,” I beamed.

Nicole dove in like a game show contestant trying to solve a Wheel of Fortune
puzzle naming all these things that were wrapped up. We landed on presents under a
tree, taxi cabs wrapped in yellow. Giving a shout out to her hometown team she added
a beer wrapped in a Red Sox koozie. Behind Nicole I could see street lights glowing out
her apartment window and I colored up the chorus with “like the night wraps around the
stars.”

Nicole: When we were spitballing song ideas during our Zoom songwriting session, you
could just feel the excitement and the promise in the room: we weren’t writing “just
another country love song.” Rather, I wanted to make sure our new song was so full of
love and that that love was versatile enough to be felt between anyone: between
partners, between different types of family members, between parents, Dad and kid, or
kid and Momma, etc.!

A unique part of my story that J.T. wanted to incorporate into our song is
reflective of a little trip I took on my way to first meet Mum and Daddy. The Mother
Superior who helped arrange my adoption with her convent/orphanage had to transport
me via boat to meet my parents. In lieu of purchasing bulky or expensive baby
transportation equipment like a stroller, Mother just zipped me right up into her jacket (I
was tiny, ok!?) and we were off. Very cozy, I’d say! And it got the job done. J.T. was
enamored by that part of my adoption story and so we decided to make it part of our
foundation while writing. The song is really catchy – I know I’m biased but I personally
think it’s a chart-topper!

What do you want people to know about adoption?
JT:
I imagine it takes a lot of courage to adopt a child. I wonder if people thinking about
adopting a child are nervous because they aren’t sure what they’re going to get, maybe
they don’t know where the child comes from. I want people to know my mom said from
the moment she held me in her arms it never crossed her mind or heart I wasn’t hers.
My “little brother” has blonde hair and is as big as Hulk Hogan. I have chocolate brown

hair, I’m slim, average height. As different as we are, I never once felt out of place or
that I didn’t belong to the Harding family. That’s my view of adoption. It’s terrifying to
think I could’ve grown up without a family.

Nicole: Please give adoption a chance. If you have love in your heart, there is a kid out
there who is worthy of that love and willing and ready to receive it: regardless of their
age, creed, color, or background. The family unit has the potential of doing such
beautiful things in this life… and families come in all different shapes and sizes!

Find your adoption resources and utilize them: don’t be afraid to ask the hard
questions or the silly ones. Be brave and talk about your adoption journey so others can
learn from your story. If you’re thinking of expanding your family, you have extra love to
give, or you have room in your heart, adoption might just be for you!

Adoption is an option for everyone: if you are able to love unconditionally, to keep
a child safe and be their protector, to invest in them and bring joy into their lives, give it
a chance. There are so many other grateful “kids,” like me, living proof your story can
have a happy journey.

What would you say to encourage people whose adoption experience has been
difficult?
JT:
The sad voice of a friend was coming over the opposite end of a phone call to me
recently. Her mom was so disappointed that she wanted to look for her biological
parents. To anyone going through that I would like to say, a person who isn’t adopted
can’t understand the curiosity you feel about where you came from. I feel everybody
has the right to look for their biological parents to see who they are but also to know
your family history and maybe any health issues that might be out there. I met my
biological parents and they turned out to be great people but I never looked at them as
anything other than new friends. I never looked at them or needed them to be my
parents .

The flipside to that is you never know who you’re going to meet out there so keep an
open mind and an open heart. Some biological parents don’t want to be found, or if you
do meet them it’s not always a fairy tale. I tell people to try to remember they loved you
so much they knew they couldn’t take care of you and that’s most likely why they gave
to someone that could.

Nicole: I get it. I have friends who have not had an easy adoption journey. First and
foremost, I am a fan of asking for help, for engaging in self-care and attending therapy:
when you find the right type of therapy and therapist for you. There are many different
types of groups that serve as safe spaces where you can be brave and get help,
wherever you are in your journey.

My biggest advice is don’t keep your questions, feelings, worries or wonders
bottled up inside. There are people and resources who want to help you understand
where you came from and why God (or your deity of choice) has a plan for you to be
exactly where you are meant to be. Never forget that you’re unique, you are beautiful,
you are wanted, and we are glad you’re here!

This content was originally published here.

W.A. Production closely collaborates with chart-topping Norwegian music producer K-391 on Put Me On DRUMS ground-shaking drum processing plug-in

PRAGUE, CZECH REPUBLIC: W.A. Production, producers crafting creative plug-ins to help anyone achieve studio-quality processing speedily and easily, is proud to announce the availability of Put Me On DRUMS — duly delivered as a ground-shaking drum processing plug-in created in close collaboration with chart-topping Norwegian music producer K-391 to add attitude, depth, punch, and weight to beats by processing them with intense effects as a secret weapon in the fight for creating distinctive drums that will blow listeners away — as of October 17…

As a 28-year-old Norwegian music producer and EDM (Electronic Dance Music) artist whose stock rose high hitting the number one spot in his home country with his hit single ‘Ignite’ in 2018, having hitherto proven popular with ‘russ’ — students who traditionally celebrate their final spring semester in Norwegian high schools, Kenneth Osberg Nilsen (a.k.a. K-391) knows a thing or two about adding, depth, punch, and weight to beats. Bent on helping anyone achieve studio-quality processing speedily and easily having gained valuable insight as working producers themselves, W.A. Production knows a thing or two about crafting creative plug-ins. Put them together and the result is a musical match made in heaven. As a ground-shaking drum processor adding attitude, depth, punch, and weight to beats by processing them with intense effects as a secret weapon in the fight for creating distinctive drums that will blow listeners away, Put Me On DRUMS is as perfect for the job as it is perfectly named.

It is hardly surprising, therefore, that K-391 is impressed with the perfectly-named result, revealing, “I wanted to create a plug-in that helps producers get the most out of their drum sounds without designing long, CPU-heavy effect chains; working with W.A. Production on Put Me On DRUMS led to an incredible plug-in that helps you get fat, punchy drums in an instant — plus, you get a selection of presets I designed myself and will be using on my own productions.”

Putting into words exactly how Put Me On DRUMS does what it does is easier said than done — after all, talking about music is like dancing about architecture, as someone once wisely said, but bespoke split-frequency routing combines specific effects for low and high frequency bands for unparalleled control over drum shaping and deformation. Indeed, if snare-shaping or colossal kicks are the order of the day then Put Me On DRUMS can truly turn up the heat with simple controls and a range of transformative presets — the latter designed by K-391 himself.

It is obvious, then, that K-391, the producer, plays a pivotal role in making Put Me On DRUMS what it is, which, itself, is hardly surprising since — through sweeping soundscapes and genre-bending compositions — his musical universe is the soundtrack to engaging narratives. Needless to say, K-391 is a force to be reckoned with, as borne out by more than a million followers online and recently surpassing 300 million audio and video streams. Says the producer: “My goal has always been to make better music, and, hopefully, let people feel that. That’s why we developed this plug-in, which instantly makes your drum sound better — spice up, enhance, or tune your drums for the perfect fit to your track, but, of course, you can also put it on guitars, vocals, or bass. It doesn’t matter as long as it sounds good, right?”

Regardless of whichever way anyone chooses to work with Put Me On DRUMS, the way it splits the audio into its HIGH and LOW frequency modules for independent processing is central to this musical match made in heaven’s way of working, allowing anyone to adjust the FREQ (frequency) crossover from 20Hz to 20kHz to find the perfect midpoint for their desired drum processing, with different effects applied to each of the frequency bands.

Consequently, controls for the LOW frequency band include BELLY, PUNCH, SUB TAIL, LENGTH, and LOW EQ adjustments. As such, it is possible to saturate the low end with the BELLY and control the transient level sent into the saturator itself with PUNCH; drum characteristics can be tweaked with tails extended with the SUB TAIL button and LENGTH dial, making 808s shine with upper harmonics or kicks ring out for longer; and focus the processing on a particular band or notch out problematic frequencies with the LOW EQ controls.

Controls for the HIGH frequency band include FREQ SHIFTER, DIMENSION, WIDTH, and HIGH EQ adjustments. As such, Put Me On DRUMS makes it easy to share the upper frequencies of hi-hats and snares, using a clever combination of formant-shifting additional voices. Simply select the target frequency with the FREQ SHIFTER dial, then control the over-formant feel with the SHIFT knob; this makes it easy to turn high percussion to fit with the key of the track being worked on, or just push the harmonic content a little more for shimmer and sparkle. Spread the dimension effect around the stereo filled with the WIDTH control and focus top-end processing on a particular band with the HIGH EQ controls.

It is easy to compare Put Me On DRUMS’ presets, or user tweaks thereof, by copying and pasting between two profiles — A and B — and selecting each with a single click to analyze adjustment changes, fine-tuning each until arriving at the perfect settings for the task. No need to worry about making mistakes, though, since UNDO and REDO functions are always available — as is a RANDOMIZER for fresh and unexpected takes on drum processing.

Put it this way: with independent GAIN controls for INPUT and OUTPUT, plus a master MIX ratio dial for parallel processing, Put Me On DRUMS is equally at home facilitating small surgical changes as it is delivering dynamic destruction. And as if all that was not enough to be getting on with, the ground-shaking drum processor plug-in’s master LIMITER feature smooths out the dynamics of the outgoing audio, while the OUTPUT level slider allows users to set a level for accurate A/B-ing with the pop-free POWER control. Clearly, the live frequency display at the top of the no-nonsense GUI (Graphical User Interface) shows exactly what is happening to the signal as it is being processed in real-time — simply drag the frequency crossover to shift the perspective between the HIGH and LOW frequency modules, making for accurate visual monitoring for what is happening each time a parameter change is made. It is, indeed, an incredible plug-in… just ask K-391!

Put Me On DRUMS is available to purchase for a time-limited introductory promo price of only $20.00 USD — rising thereafter to its regular price of $39.90 USD — as a 64-bit AU-, VST-, and VST3-compatible plug-in for macOS (10.15 or later) and 32- or 64-bit VST-, and VST3-compatible plug-in for Windows (8 or later), as well as an AAX-compatible plug-in for Pro Tools (11 or higher), directly from W.A. Production via its dedicated webpage, which also includes some superb audio previews, here: https://www.waproduction.com/plugins/view/put-me-on-drums

14-day, fully-functional trial versions of all W.A. Production plug-ins — including Put Me On DRUMS — are available by signing up for an account for free here: https://www.waproduction.com/users/login

Watch W.A. Production’s informative introductory video for Put Me On DRUMS — including an introduction by K-391 himself — here:

About W.A. Production ()
W.A. Production was created by producer/DJ and sound designer Redhead Roman in 2014. Helpfully, his deep-rooted passion for EDM (Electronic Dance Music) and time spent in the music industry ignited a desire to put top-tier audio products into the hands of every electronic music producer at prices that they could actually afford. By building its initial reputation on delivering high-end professional-sounding samples, the six-strong team of today has hurriedly matured into boasting a successful brand that offers instrument and effect plug-ins, DAW (Digital Audio Workstation) templates, informative articles, and exclusive interviews with some of the hottest EDM artists around, alongside e-books and tutorials, as well as online video courses. It is also recognized for practicing a ‘hands-on’ style of customer support and service, ensuring that every customer’s experience is a great one. On the face of it, then, that Roman and his talented team remain extremely humble and interactive with their customers, members, and the EDM scene as a whole to this day is an amazing attribute in itself since W.A. Production has experienced substantial growth — growth that is constantly being expanded still further by testing boundaries, pushing creativity and innovation to new heights. Indeed, it is all driven daily by asking themselves the same question: “What about making your sound better?”

© 2022 W.A. Production

This content was originally published here.

5 Famous Actors Who Have Very Good Music Albums – Chart Attack

Big acting stars are great at what they do, but they also have other talents. One of them is certainly singing. Music and acting are related professions. Those skills that attract artists often do not know clearly what to do. If they can, they lead two parallel careers.

It’s no surprise that many, in addition to acting talent, also possess magnificent vocal abilities. Some of them showed their skills through roles in the theater, movies and series, but some were brave enough to appear on the music scene as well. On this occasion, let’s remember the actors who have albums in their career.

1. Clint Eastwood

He started his career with roles in western films, and it has lasted for more than 60 years. Clint Eastwood’s acting legend is characterized by measuredness and precision, a procedure that does not burden the story itself with any excess of virtuosity, but also does not allow, on the other hand, visual simplification. Clint never calculated, he was guided by instincts even when he was nobody and nothing. Without him, the seventh art would not be the same. Especially considering Eastwood’s metamorphosis from the supporting role of a cowboy in the Rawhide series to the lead in Sergio Leone’s legendary Dollar trilogy.

We must not forget about Dirty Harry, to the ability to question the stereotypes of which he himself was a victim. And it is precisely this self-ironic departure and self-cynicism that make him one of the most significant critics of American society, tradition and culture. However, he is more than a director and an actor. In addition to being a famous seducer, he also has his own album. It was published in 1963 before he became a movie star or director. The name of the album is “cowboy favorites”.

2. Bruce Willis

Our next personality is a big Hollywood star who also occasionally enjoyed music. This popular, charming actor has been on the big screen for decades. He was born in Germany, and his real name is Walter, and his nickname is Bruno. That’s why one of his albums is called – “The return of Bruno”.

During his career, he recorded two albums of covers and original tracks. One of the famous hits is “Save the last dance for me”. At the same time, he was an actor, so his musical career was launched during the filming of the series “Random Partners”. He liked to sing in his films, but he also released several albums. He is one of the first celebrities to lend his voice and character to a video game. This is the PlayStation shooter “Apocalypse”. We all know him as a great fighter against terrorists on the screen, but he is also like that in real life.

3. Steven Seagal

This is another dedicated actor who has also achieved great success in music. Besides being a famous Hollywood actor, he is also a producer, director and martial artist. He is known for his roles as a secret agent, a secret service operative, a member of the navy and the like.

Steven was also involved in music. His musical development went in the direction of a blues rock artist, and I actually like to listen to his music on Mp3 Juice. He had several solo concerts around the world. Although he had leading roles in famous films, he found salvation and intimate enjoyment in music. This is proven by his albums, which went well with the audience.

4. Johnny Depp

Notable films at the beginning of Johnny’s career include Cry-Baby, Jim Jarmusch’s “Dead Man” and Terry Gilliam’s “Fear and Loathing in Las Vegas” and many others. He won a Golden Globe Award for his role in Sweeney Todd. We must not forget about the huge commercial success which was followed by the series of films “Pirates of the Caribbean”. He even entered the Guinness Book of Records as the highest paid actor. At one time he was very active in music, and he did it purely out of love. During his free time, he was the leader of his rock band, and some members from the Red Hot Chili Peppers and the Sex Pistols also participated.

They performed at elite venues, but the band ceased to exist a long time ago. We can say that Johnny Depp is the most mysterious person in Hollywood. He has many faces, incredibly talented, original and brave. Besides having numerous collaborations with rock stars, Depp also composed tracks for the films in which he played. One of them is Chocolat from 2000. His most recent thing is his collaboration with Jeff Beck for a cover of John Lennon’s “Isolation”.

5. John Travolta

The movie classic “Brilliant” was the most profitable musical at the time. The album of songs from the film was the second best-selling album in America in 1978, and the single “You’re the One That I Want” alone sold more than 15 million copies worldwide. The Hollywood classic definitely brought great success to Travolta, even though he had already filmed “Saturday Night Fever” before that. He appeared in local musicals and evening theater productions. He will be remembered for his dancing ability. His stylish moves on the dance floor of “Saturday Night Fever” promoted the crowd and took disco to a whole new level. So, he was equally talented in acting and music. He recorded as many as 11 albums, and the album “Grease” was the best. In those years, he was at the top of the American charts.

Conclusion

Some celebrities are destined for great success because they have multiple talents. Acting and music are difficult to consider separately, because they are constantly intertwined. Often the actor directs and writes, so why not record albums? As you could read, there are many listening albums of Hollywood actors. Regardless of their exceptional acting skills, many of them do not want to settle for that.

Wanting to use their creativity, they recorded big musical hits that are still heard today. At the time, many thought that they were just a current topic among teenagers, such as the song “You are the one that I want”, but they have been popular with people for 40 years. That’s a long period, but it’s also proof that quality things don’t have an expiration date.

This content was originally published here.

Hip-Hop Museum Sets Out To Chart 50 Years of the Music’s History

Before hip-hop became a global cultural phenomenon, the genre emerged at a 1973 block party in the South Bronx. DJ Kool Herc had organized the party for members of his apartment building, word of the event spread borough-wide and it quickly set the precedent for a recurring community gathering. DJs would set up turntables right on the pavement, using two copies of the same record to mix, layer and scratch beats. Over these funk and soul-inspired sounds, spectators laid down cardboard for dancing and the DJs shouted out to engage the crowd, a routine that became known as MCing. In the ensuing few years, MCs placed greater emphasis on rhyme and rhythm, and by the late 1980s, hip-hop had entered its golden era, led by a vanguard of rapper-tastemakers such as LL Cool J, Slick Rick and Biz Markie.

Fifty years after Kool Herc’s block party, hip-hop has paved the way for modern music production techniques, spawned countless rap subgenres — from Southern crunk to Brooklyn drill — and cemented its place among a mainstream listenership. The genre is continuously evolving too, thanks to the rise of social media and streaming platforms, enabling virtually anyone to make and distribute music. With vinyl and print media gradually becoming antiquated, so much of hip-hop culture now exists exclusively online, but Rocky Bucano, director of the forthcoming Universal Hip Hop Museum (UHHM), has made it his mission to preserve the physical artifacts of hip-hop history.

Slated to open its doors in 2024, the Bronx-set UHHM is a first-of-its-kind institution that will trace the legacy and progress of hip-hop back to its roots in New York. Hypebeast spoke to the former record executive turned museum director about the genesis of the UHHM, the process of assembling its collection of over 30,000 artifacts and his vision for the culture moving forward.

What made you initially want to become involved with the project, and how did the concept of devoting an entire museum to hip-hop history first come about?

Hip-hop has always been part of my DNA. I’ve been involved in the culture from the very beginning. I had my own record label, Strong City Records, during the golden era of hip-hop and I’ve worked with so many unsung heroes from the time, like DJ Hollywood, Eddie Cheeba and Lovebug Starski.

Hip-hop music has impacted communities all around the world. It’s now the number one most-listened-to music on the planet. Not having a permanent repository — a permanent space to celebrate this amazing culture — was a travesty. There was a need for an institution to recognize the great accomplishments of many of the artists who have created the culture.

Over the past half-century, hip-hop’s influence has permeated fashion, film, technology and politics. I imagine narrowing all that down to the confines of a museum is a complex task. Can you describe the process of assembling the museum’s collection of artifacts?

Our collection is growing on a day-to-day basis. We have a warehouse out in Newark, New Jersey, where we’re storing all of our artifacts. People are donating everything from magazines to CDs to vinyl albums. We have outfits, we have studio equipment. [New York recording studio] Hit Factory even donated one of their main consoles that was used by so many iconic artists to record their albums. Our curators have assembled an amazing collection that goes back to the very beginning when hip-hop was not even called hip-hop.

A collection of hip-hop memorabilia of this scale and scope has never been organized for public consumption. How does one begin to go about sourcing and organizing these artifacts?

It’s about really understanding what artifacts are important, what artifacts are required to make sure that the history, stories and people who have contributed to this history are celebrated in the most authentic way. But more importantly, it’s all about making sure that the history is properly documented so that the storyline — who started it, where it started, how it started, where it is today, how it has impacted our communities, how it has impacted fashion and politics and social media and technology — charts a clear through line from day one to where we are today.

We specifically look for memorabilia and artifacts that help us tell that story, whether it’s flyers, cassette tapes, magazine covers, newspaper articles or films and videos. Whatever the asset is, we analyze it to see where it fits into the overall scheme of the museum’s storytelling and then digitize it in a digital asset management system.

Critics often accuse hip-hop of glorifying drug use or violence. Recently, rap lyrics have even been used as evidence against artists in criminal trials. Do you envision the museum having the potential to sway the public’s perception of the genre?

One of the main objectives of the museum is to educate, inspire and promote a greater understanding of what hip-hop is. Many people have, like you said, a misconception of hip-hop just being about misogynistic stuff and violence — stuff they see happening on the dark side of hip-hop culture — but hip-hop has always been about peace, unity, love and having fun.

In the early days of the culture’s emergence in the Bronx, hip-hop started with gangs wanting to figure out how to stop violence and come together and form a more peaceful way to coexist. It became this culture that was really about celebrating unity and giving voice to the voiceless.

Yes, there are some things in hip-hop that are contrary to what I just said. Something people may say is, ‘oh, hip-hop is damaging to today’s youth.’ That’s something the museum will try to help inform on and redirect the narrative so that people understand that this is music built on love and peace, not violence. Through educational programs, cultural programs, and its network and resources, the UHHM will be at the center of creating a stronger narrative around the beauty of hip-hop and how it has empowered people all around the world as opposed to creating a disenfranchised community.

The post Hip-Hop Museum Sets Out To Chart 50 Years of the Music’s History appeared first on .

This content was originally published here.

DMC Dance Mixes Issue 315 Remix Chart Music DJ CD

Shipping & Delivery

We use Royal Mail 1st 2nd Classes Tracked 48 and DPD Carriers.

Please note Delivery Rates below:

Orders from £0.00  –  £4.99  = £2.99 Delivery Charge (Royal Mail 1st Class)

Orders from £5.00  –  £9.99  = £3.99 Delivery Charge (Royal Mail 1st Class / Tracked)

Orders from £10.00 – £19.99 = £4.99 Delivery Charge (Royal Mail Tracked / Carrier)

Orders from £20.00 – £59.99 = £5.99 Delivery Charge (Royal Mail Tracked / Carrier)

Orders from £60.00 – £79.99 = £6.99 Delivery Charge (Royal Mail Tracked Signed / Carrier)

Orders From £80.00 -£99.99 = FREE (Tracked Signed For / Carrier) *

Orders Over £100 = FREE Carrier only *

Free Shipping applies to UK order only, Generally mainland only.

Privacy & Security

We take online security very seriously. We only collect the information we need. We may also collect certain information about you to assess your buying trends and offer youy better deals. Should you not wish us to send you emails, please opt out in your account.

We encourage you to place your order online. This is the fastest method and your order will be sent directly into our system for processing. We can assure you that we have taken all necessary steps to ensure that your credit card details will not be compromised. We don’t even store them as your credit card payment will be processed directly by the bank.

Returns

Items that are to be returned should be in there original packaging including bags cardboard or polystyrene holders and protectors and shipped to:

DFB Sound & Light Warehouse Limited
Unit B5 Langham Park, Lows Lane
STANTON BY DALE
Derbyshire
DE7 4RJ

All accessories (i.e.remotes, leads, batteries, etc should come back) unless an exception has already been agreed prior.

All items come with a minimum 1 year Maufacturers guarantee (this does not cover preowned items) which covers parts and labour for repair purposes.

Some items are not covered under this guarantee are user replaceable items that are subject to wear and tear. These include mixer crossfaders, line faders and styli (cartridge needles) lamps which cannot be guaranteed (faulty on arrival does not apply to the “not covered” rule).

Unwanted items

If you have recieved an incorrect product(s) or unwanted the item(s) these can be returned in a 14 day cooling off period, shipping charges will be refunded where items are too small to warrent a collection. Collection will be made by an agreed date if for any reason that we are unable to collect may incure additional costs to re-arrange should the error not be ours or the carriers. We will extented unwanted item to 14 days at the buyers cost of return.

Unwanted headphones and earphones may not be returned due to hygiene reasons. Software and Media (ie CD & DVD) products may not be returned and hardware products with bundled software, where the software has been registered and also made to order items, may also not be returned.

We aim to get repairs done as quickly as possible, if repair is to take more the a deem reasonable time, items will be replaced or refunded.

Item has been returned inside of 28 days will be replaced where possible subject to stock availability.

Please make sure you package your item(s) extremely well.  If item(s) are damaged in transit and it has not been packaged sufficiently may void any warranty.  
 

If you have any questions please do not hesitate to contact us on + 44 (0) 115 9770391 8.3am – 5pm Mon-Fri or E-mail sales@dfb-uk.com

This content was originally published here.

British Music Experience Celebrates Official Singles Chart 70th Anniversary

The British Music Experience, represented by TravelBeat, have partnered with the Official Charts Company to celebrate the 70th anniversary of the UK singles chart. Published by New Musical Express in 1952, the chart was compiled by Percy Dickins and topped by Al Martin’s Here In My Heart.

Harvey Goldsmith CBE and Chair of the Trustees of the British Music Experience said, “We are delighted to have collaborated with the Official Charts Company who keep meticulous records about the records we love. For a band or an artist to climb to the pinnacle of the Official Charts was a true honour and badge of success. For us at the British Music Experience, the Official Chart informs the great story of popular music in the UK. You won’t find a single track in the Museum that was not at some point chronicled by the chart but in this temporary exhibition visitors will look more closely at some of the meteoric success and dramatic races to the top.”

Official Charts Company Chief Executive, Martin Talbot added, “The Official Singles Chart has chronicled the nation’s favourite music for 70 years now, spanning eight decades (from the Fifties to the Twenties), and more than 1,400 No.1 singles. The race to top the Official Chart means as much to artists now as it has ever done and we are delighted to be partnering with the BME to mark this anniversary moment. The BME and the Official Charts share a joint mission – to celebrate all that is great about British music, in all its glory, and we intend to do just that through this brand new partnership.”

To launch the exhibition, BME is to host a very special evening in conversation with Peter Hooton and Keith Mullin from The Farm as they discuss the Official Charts. They will be talking about their chart-topping heroes and influences, their own chart singles and their No.1 single as part of The Justice Collective, He Ain’t Heavy, He’s My Brother. BME will be playing the videos of Groovy Train, All Together Now and He Ain’t Heavy on the big screen before the band discuss each single. Groovy Train reached No.6 in September 1990 and All Together Now peaked at No.3 in December 1990. It was on the crest of this wave that their album Spartacus reached No.1 the following year. The Justice Collective went on to take the coveted Christmas No.1 position in 2012, beating X Factor winner James Arthur.

The event will take place on 17 November, tickets are £8 each and on sale Friday 14 October from .

70 Years of the Official Singles Charts runs at the British Music Experience in Liverpool’s Cunard Building from 16 November 2022 until 5 March 2023. Entry is included in the price of admission.

The post British Music Experience Celebrates Official Singles Chart 70th Anniversary appeared first on UKinbound.

This content was originally published here.

DMC Dance Mixes Issue 315 Pop Remix Chart Music DJ CD

Shipping & Delivery

We use Royal Mail 1st 2nd Classes Tracked 48 and DPD Carriers.

Please note Delivery Rates below:

Orders from £0.00  –  £4.99  = £2.99 Delivery Charge (Royal Mail 1st Class)

Orders from £5.00  –  £9.99  = £3.99 Delivery Charge (Royal Mail 1st Class / Tracked)

Orders from £10.00 – £19.99 = £4.99 Delivery Charge (Royal Mail Tracked / Carrier)

Orders from £20.00 – £59.99 = £5.99 Delivery Charge (Royal Mail Tracked / Carrier)

Orders from £60.00 – £79.99 = £6.99 Delivery Charge (Royal Mail Tracked Signed / Carrier)

Orders From £80.00 -£99.99 = FREE (Tracked Signed For / Carrier) *

Orders Over £100 = FREE Carrier only *

Free Shipping applies to UK order only, Generally mainland only.

Privacy & Security

We take online security very seriously. We only collect the information we need. We may also collect certain information about you to assess your buying trends and offer youy better deals. Should you not wish us to send you emails, please opt out in your account.

We encourage you to place your order online. This is the fastest method and your order will be sent directly into our system for processing. We can assure you that we have taken all necessary steps to ensure that your credit card details will not be compromised. We don’t even store them as your credit card payment will be processed directly by the bank.

Returns

Items that are to be returned should be in there original packaging including bags cardboard or polystyrene holders and protectors and shipped to:

DFB Sound & Light Warehouse Limited
Unit B5 Langham Park, Lows Lane
STANTON BY DALE
Derbyshire
DE7 4RJ

All accessories (i.e.remotes, leads, batteries, etc should come back) unless an exception has already been agreed prior.

All items come with a minimum 1 year Maufacturers guarantee (this does not cover preowned items) which covers parts and labour for repair purposes.

Some items are not covered under this guarantee are user replaceable items that are subject to wear and tear. These include mixer crossfaders, line faders and styli (cartridge needles) lamps which cannot be guaranteed (faulty on arrival does not apply to the “not covered” rule).

Unwanted items

If you have recieved an incorrect product(s) or unwanted the item(s) these can be returned in a 14 day cooling off period, shipping charges will be refunded where items are too small to warrent a collection. Collection will be made by an agreed date if for any reason that we are unable to collect may incure additional costs to re-arrange should the error not be ours or the carriers. We will extented unwanted item to 14 days at the buyers cost of return.

Unwanted headphones and earphones may not be returned due to hygiene reasons. Software and Media (ie CD & DVD) products may not be returned and hardware products with bundled software, where the software has been registered and also made to order items, may also not be returned.

We aim to get repairs done as quickly as possible, if repair is to take more the a deem reasonable time, items will be replaced or refunded.

Item has been returned inside of 28 days will be replaced where possible subject to stock availability.

Please make sure you package your item(s) extremely well.  If item(s) are damaged in transit and it has not been packaged sufficiently may void any warranty.  
 

If you have any questions please do not hesitate to contact us on + 44 (0) 115 9770391 8.3am – 5pm Mon-Fri or E-mail sales@dfb-uk.com

This content was originally published here.

DMC Dance Mixes Issue 315 Ibiza Remix Chart Music DJ CD

Shipping & Delivery

We use Royal Mail 1st 2nd Classes Tracked 48 and DPD Carriers.

Please note Delivery Rates below:

Orders from £0.00  –  £4.99  = £2.99 Delivery Charge (Royal Mail 1st Class)

Orders from £5.00  –  £9.99  = £3.99 Delivery Charge (Royal Mail 1st Class / Tracked)

Orders from £10.00 – £19.99 = £4.99 Delivery Charge (Royal Mail Tracked / Carrier)

Orders from £20.00 – £59.99 = £5.99 Delivery Charge (Royal Mail Tracked / Carrier)

Orders from £60.00 – £79.99 = £6.99 Delivery Charge (Royal Mail Tracked Signed / Carrier)

Orders From £80.00 -£99.99 = FREE (Tracked Signed For / Carrier) *

Orders Over £100 = FREE Carrier only *

Free Shipping applies to UK order only, Generally mainland only.

Privacy & Security

We take online security very seriously. We only collect the information we need. We may also collect certain information about you to assess your buying trends and offer youy better deals. Should you not wish us to send you emails, please opt out in your account.

We encourage you to place your order online. This is the fastest method and your order will be sent directly into our system for processing. We can assure you that we have taken all necessary steps to ensure that your credit card details will not be compromised. We don’t even store them as your credit card payment will be processed directly by the bank.

Returns

Items that are to be returned should be in there original packaging including bags cardboard or polystyrene holders and protectors and shipped to:

DFB Sound & Light Warehouse Limited
Unit B5 Langham Park, Lows Lane
STANTON BY DALE
Derbyshire
DE7 4RJ

All accessories (i.e.remotes, leads, batteries, etc should come back) unless an exception has already been agreed prior.

All items come with a minimum 1 year Maufacturers guarantee (this does not cover preowned items) which covers parts and labour for repair purposes.

Some items are not covered under this guarantee are user replaceable items that are subject to wear and tear. These include mixer crossfaders, line faders and styli (cartridge needles) lamps which cannot be guaranteed (faulty on arrival does not apply to the “not covered” rule).

Unwanted items

If you have recieved an incorrect product(s) or unwanted the item(s) these can be returned in a 14 day cooling off period, shipping charges will be refunded where items are too small to warrent a collection. Collection will be made by an agreed date if for any reason that we are unable to collect may incure additional costs to re-arrange should the error not be ours or the carriers. We will extented unwanted item to 14 days at the buyers cost of return.

Unwanted headphones and earphones may not be returned due to hygiene reasons. Software and Media (ie CD & DVD) products may not be returned and hardware products with bundled software, where the software has been registered and also made to order items, may also not be returned.

We aim to get repairs done as quickly as possible, if repair is to take more the a deem reasonable time, items will be replaced or refunded.

Item has been returned inside of 28 days will be replaced where possible subject to stock availability.

Please make sure you package your item(s) extremely well.  If item(s) are damaged in transit and it has not been packaged sufficiently may void any warranty.  
 

If you have any questions please do not hesitate to contact us on + 44 (0) 115 9770391 8.3am – 5pm Mon-Fri or E-mail sales@dfb-uk.com

This content was originally published here.