Toasting (rap in other parts of the Anglo Caribbean) or deejaying is the act of talking, usually in a monotone melody, over a rhythm or beat by a deejay. It can either be improvised or pre-written. Toasting developed in Jamaica, before it took up that name and being part of the sound system era, a similar sound of it is found in mento and now can be heard over musical styles including ska, reggae, dancehall, dub, grime, hip hop, soca and bouyon music. The combination of singing and toasting is known as singjaying.

Late 1960s toasting deejays included U-Roy[4] and Dennis Alcapone, the latter known for mixing gangster talk with humor in his toasting. In the early 1970s, toasting deejays included I-Roy (his nickname is in homage to U-Roy) and Dillinger, the latter known for his humorous toasting style. In the early 1970s with the rise of Dub Big Youth became popular,also Prince Jazzbo in his early appearance toasting with more cadence on Dubs. In the late 1970s, Trinity followed.


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The 1980s saw the first deejay toasting duo, Michigan & Smiley, and the development of toasting outside of Jamaica. In England, Pato Banton explored his Caribbean roots, humorous and political toasting[5] while Ranking Roger of the Second Wave or Two-Tone ska revival band The Beat from the 1980s did Jamaican toasting over music that blended ska, pop, and some punk influences.

Jamaican deejay toasting also influenced various types of dance music, such as jungle music and UK garage. Dancehall artists that have achieved pop hits with toasting-influenced vocals include Shabba Ranks, Shaggy, Lady Saw, Sean Paul, Terror Fabulous and Damian Marley.

But Orphaned Deejay Selek is no Analord 12. For one thing, many of the Analord releases sound positively lo-fi compared to the eight tracks here. The separation of the sounds in the mix, and the way they stake out a position in space, is nothing short of spellbinding. He's also not kidding about the "deejay" part of the title: These really are some of the most straightforward pieces of music that James has put his name to in years. They're far more focused on rhythm, on that ineffable quality known as the groove, than either of his other recent releases.

The Washington Post earlier this month wrote: "Martin Solveig will serve as the house deejay at the Gibson Amphitheatre show."

Also, many stage names in the music business favor one form, as in DJ Spooky, DJ Jazzy Jeff, DJ Skribble, etc.

I imagine that the all-lower-case deejay is favoured by publications that try to avoid acronyms and initialisms. Where they are permitted, whether to include or omit the abbreviation marks is a matter of style.

As a 2002 inductee into the Pioneers of Western Swing Hall of Fame, Mike Gross has found many birds of a feather. The likeable deejay behind "Swingin' West," a weekly radio program that runs on WVOF-FM, Fairfield University radio, was inducted at the Western Swing Music Society of Seattle's 12th annual Pioneers of Western Swing Festival.

In 2000, the Academy of Western Artists honored Mr. Gross as deejay of the year in Fort Worth, Texas. Mr. Gross was the first non-guitar player to receive the appreciation award from the Pedal Steel Guitar Association in 1992. He also reviews Western Swing albums and books for niche publications and he is the M.C. and announcer for Fairfield Counts - an 18-piece Glenn Miller/Duke Ellington type band - for their summer concerts. be457b7860

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