Year: 2008
Type: article
Abstract: This story begins with a skinny white DJ mixing between the breaks of\nobscure Motown records with the ambidextrous intensity of an octopus on\nspeed. It closes with the same man, debilitated and virtually blind, fumbling\nfor gospel records as he spins up eternal hope in a fading dusk. In between\nWalter Gibbons worked as a cutting-edge discotheque DJ and remixer who,\nthanks to his pioneering reel-to-reel edits and contribution to the development\nof the twelve-inch single, revealed the immanent synergy that ran between the\ndance floor, the DJ booth and the recording studio. Gibbons started to mix\nbetween the breaks of disco and funk records around the same time DJ Kool\nHerc began to test the technique in the Bronx, and the disco spinner was as\ntechnically precise as Grandmaster Flash, even if the spinners directed their\ndeft handiwork to differing ends. It would make sense, then, for Gibbons to\nbe considered alongside these and other towering figures in the pantheon of\nturntablism, but he died in virtual anonymity in 1994, and his groundbreaking\ncontribution to the intersecting arts of DJing and remixology has yet to\nregister beyond disco aficionados.1
Source: Journal of Popular Music Studies
Author: Tim Lawrence
Institution: University of East London
Language: English
Topic: Music History and Culture
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: green
OpenAlex ID: W1964196503