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How many people do you think will buy the portable CD player you suggest? Given that number of people, how many manufacturers will design something just for those people? Business and common sense dictates that you invest only when you expect reasonable returns, definitely not the case here or with the tape deck. The speakers you're looking for are already out there slightly heavier though.

All the drivers employ Neodymium magnets and the cabinet is rather compact. There's a reason they're called RARE earth magnets. If anyone out there has any technical questions, please feel free to contact me at Pro Sound, The Knoll, Ithaca, N. This is in reference to the article "Thanks to Advances.

The system you are using sounds like the system described that Fred uses in the Low-Cost article. Let's review options for a light and compact system just by shopping through the Mobile Beat that your Feedback was in. Page 21, a rack. This new concept enables all equipment to be screwed into one rack that is only six spaces high, and there is a pullout rack draw to mount a mixer in. If you are worried continued on page In my first year with AMS, I added 5 systems and did over events. I was worried about losing my existing customers and referrals.

Now I have more customers than I thought possible and even though I'm bigger, my service is better than ever. My only regret is that I didn't do it sooner. Music lor 10 years and had 2 systems. Since joining AMS in December, I've added two more systems and I've done more events in the first 5 months of than I did in the previous 14 months. The AMS system helped me to be more efficient so my business is growing while I work it part-time. I'll be full-time soon. Was it worth it.

  2. Crown Him With Many Crowns?
  3. Aphrodites Secret (The Forgotten Book 1);
  4. Naked Reading: Uncovering What Tweens Need to Become Lifelong Readers;
  5. Getting through the first few weeks in a new country!
  6. Consociational Democracy in Lebanon (1945-1975).
  7. The first six months of life in Dubai!

The same exacting filter design and summing circuitry is utilized, with each filter exhibiting true constant "Q" response. Instead of the 20mm plastic faders typically used by the competition, ASHLY has selected a custom-manufactured 25nun slide fader device. This component allows us to offer up to 15 dB of boost or cut adjustment on each individual filter. Finally, a truly professional graphic equalizer in a smaller rack space package. Webster, NY Toll Free: E and E Exports Inc. To enter, simply send in a photo of yourself doing something wild and sassy but not dangerous, illegal or obscene while wearing American DJ Logowear.

Entries will be judged on originality and appearance. Mail all photos to: Winners will be announced on Thursday, October For more information, call American DJ Supply, Utilize the crossfade heai plify beat mixing, or to cue up instantly. Page 24, a power distributor. Although you did not mention this in your original system, it will speed things up by just having one plug. And ETA's, from experience, are very reliable and inexpensive. JBL does make compact speakers with great quality, especially the MR series. Although sound isn't as good as a Cerwin-Vega, as far as bass is concerned, if you are trying to become lighter, sacrifice.

Page 56, tape deck since it seems that your major collection is on tape. The Marantz PMD does everything possible for tapes all in one rack unit with dual capability. Here is an article on mixers, find one you would like. Page 29, CD player. Call them up, Gemini and Denon both make single disc players for a rack. Two speakers get tossed in the trunk or in the back seat, my Peaveys fit fine in the trunk, while an amp rack sits in there too, you have been cut down to four trips to die car with the amp, three without.

As far as changing standard specs, I am also a pro sound engineer and if sound equipment racks started coming in different sizes, all hell would break loose. Invest some money into compact equipment, not stuff from Radio Shack. It will pay off in a few jobs. About a year ago, you printed a few good mixes by your readers. I would like, in the future, that you print more of these good mixes. It's interesting to get the experience of good DJ. I just started in the business and I'm impressed by your magazine; there is a lot of information that I benefit from very much.

Thank you for all your support. If enough readers submit mixes, we will print them in future issues. There are DJ organizations and there are DJ organizations, but to me the most important one is the select group of subscribers to Mobile Beat Maga-. I have every issue and continually refer to back issues for information and ideas. It refreshes my memory. It keeps me up to date with my trade and it constantly helps me improve my business. I'm trying to improve my liability insurance plan. Can you recommend any national insurance companies that specialize in serving DJs without the burden of membership to some association?

I'm looking for a computer disc that has musical clip art I can use for promotional material such as musical notes or bars, dancing figures, records or microphones or anything else that pertains to our trade. Keep up the good work. Thanks for the compliment. Regarding insurance, we know of no national companies offering specifically DJ liability insurance.

The best place to start is with the agent who handles your other personal ie: As for clip art, the best selection we have found is through The Image Club, 24th Ave. SW, Calgary, Alberta, Canada. For a catalog, phone or In prepare for torcjb run , following the death of his brother in a car accident, he responded by giving his time to MADD Mothers Against Drunk Driving. And while Raider may be considered a local hero by his community, he remains predictably humble saying, "I don't think I'm a hero I'm just one person doing what twice as many people like me are doing: West Long Branch—Smoke got in the eyes of partygoers in more ways than one Saturday when a disc jockey's prop set off smoke detectors and sent about 60 people fleeing from a rental hall.

The machine, which generates non-toxic artificial smoke, worked a little better than expected, and quickly filled the room with smoke. It set off smoke alarms that summoned the fire department, and sent about 60 partygoers to the exit doors. Firefighters were able to clear the building within about 30 minutes by opening the doors and windows.

After the smoke cleared, the SKJ club members went back inside and finished their party. Be a Mobile Beat news tipster, next time you're featured in your local daily or see a story about a DJ or KJ in your area , send or fax a copy of the article to Mobile Beat] In the words of Barbara and Hugh So you be in touch! Check out these electronic gathering places:.

People Connection Private room Keyword: Ay-oqi-uo doo o fi B A unique twist to this year's show will be, for the first time ever, a package that will specifically be catered to the needs and interests of DJs and KJs who serve the MOBILE entertainment market. Input from our readers, most of whom spend their weekends at wedding receptions and private functions, have suggested that while DJ Spin-offs and endless loops of samples have their place somewhere in the DJ spectrum, they would prefer to spend time at relevant seminars and related afterhour activities.

To assist Mobile Beat in accomplishing just that goal,. On issues concerning outdoor affairs, what better place to learn hands-on? A packed schedule of exciting parties and entertainment to fill the evening hours, as well as many more "Mobile Beat Firsts" to be announced later , rounds out the bill. This all-suite, upscale property is allowing the Mobile Beat Show to use virtually all their available space for the event, from the ballroom and seminar rooms to the. The schedule of artists appearing at the Hard Rock the week of January 5 will appear in the next issue of Mobile Beat.

Throw in the nightlife of Las Vegas and the Consumer Electronic Show beginning on January 9, and the environment is set for a much needed winter break after your busy holiday season! For those who preregister before September 1, Mobile Beat is offering a FREE one-year subscription or an additional year added to your current subscription. Inquiries about topics relating to seminars can be directed to Rozz at or emailed to Rozzl aol. Okay, so maybe you've seen this ad before. And maybe you thought that for the money, this mic just can't be that great.

Here's what the critics say. The results were quite surprising. In three out offour comparisons, the CM outperformed the old 'stand-bys. Comparesfavorably with accepted studio mics of its type. Good ability to handle high SPL applications. Excellent for miking instruments such as high strings, flutes, saxophones, trumpets, hihats, toms and snares. For the benefit of DJs who still have questions regarding the copyright issue, I'd like to set forth the Copyright Law as it pertains to "making tapes. Non-personal uses include those uses that are "for commercial advantage or for private financial gain.

The first misconception relates to a provision of the copyright law addressed to broadcasters 17 USC Sec. For over 15 years Rane has been producing the world's finest signal processing. Yet many of you have been asking for Rane quality that's even. Get your Mojo working now! A fresh twist utilizing our Constant Q technology. Get hip to the HQ Rane's own Acousticlear technology will help improve your system's overall performance.

Destined to be the number one choice of our music industry. The MC 22, at a Rane dealer near you. MX 22 You'll love this easy-to-operate, extremely accurate stereo 2-way, 24 dB per octave crossover. The MX 22 out-performs other brands that cost much more! The MX 22 will work for you. You will agree that this is the finest 4-channel cans amp out there.

Hear the MH 4 now. You'll find no other brand of stereo 3-way crossover that can outperform this gem. Like the MX 22, the MX 23 offers a mono sub output, and uses Rane's popular 24dB per octave technology to assure that your system remains in phase! Cross over to the MX The Copyright Law defines a "transmission program" as a "body of material" that, as an aggregate, has been produced for the sole purpose of transmission to the public in sequence and as a unit.

This copy may only be used by the transmitting entity that made it for transmissions within its own local service area. In a fraction of the time and effort, the complete mirror ball package will swell for you as a clumsily g mirror ball from the ceiling. This is one reason why Mobile DJs are not entitled to this exemption. Copyright issues can be complex and Mobile DJs and others are well advised not to rely exclusively on resource books but to seek the advice of legal counsel before embarking on any venture.

Music and memories early part of the evening. And at a high school When DJing a high school reunion there are two reunion, the music you play should ignite major mistakes you want to avoid: Not playing nostalgia about a first date, prom night or other music from the year the class graduated and 2. Reunions are Playing only music from the exciting for all involved; year the class graduated. As with any event, friends but also to hear the you want the right mix of music that formed their music. For a reunion, you generation. As a DJ, will usually start off with knowing what to play and music from their school when to play it is your top years and add more typical priority.

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  • Right up to the day of guests involved and to leave a year, of which , are class reunions. The dances and, in other words, the class graduated and place a most souvenirs are bought at 50th reunions. The guests will No matter how far one time. With all this chatter Sources: Reunion Research, Reunions Magazine, call based on that list, rather going on it's important to American Demographics magazine. Mail - sales upstairs-fecords. It's aluminum lilted platter makes it a snap lo scratch with.

    Gemini's newest "Platinum Series" mixer offers everything you need in a small 10" wide mixer. It [ features preset patterns, and auto and manual modes. It also can be set to change patterns with the beat and frequency of the music. Includes a FREE wireless remote control!

    The Roboscan features: It's simple to use, you plug it in and it works!! Perfect for the mobile DJ! Makes carrying your CDs a dream. Available in black, green, blue and grey. Black is an "in stock" color, other colors are special orders and take approx. As an experienced DJ, it is your job to insure they also leave the reunion with fresh memories of a time well spent with good friends and good music. You'll know it was a successful reunion if you hear someone say, "I can't wait for the next reunion. And make sure you get the same DJ, he was great!

    The new PowerLight 4. PowerWave'" Switching Technology patent pending , at the heart of the PowerLights, Is the power supply technology for the future. QSC's renowned protection circuitry is enhanced by the PL 4. And with the 4. There are virtually no sags following transients or long peak power demands. You won't hear typical modulation from AC ripple or garbling during clipping. The bass is ultra-clean and fat. Highs are pure and unstressed. An aluminum heat-sink tunnel designed with the ' maximum possible.

    Three-step, Class H linear output circuitry Insures less waste heat, less current demand and excellent signal-to-noise ratio.

    Lana Del Rey - Ride (Official Music Video)

    You won't see or hear another amp with the power and performance of the PowerLight 4. Waste the PL 4. Patent and Trademark Office. When purchasing a wireless mic there are certain features to consider, the first is range. Most good mics have about a foot range, which is more than enough for the average entertainer. However, watch out for the low-end mics.

    They may claim to have a foot range, but may only be usable up to 50 feet; after that, the sound quickly deteriorates. Speaking of sound quality, that's the next thing you should compare. While the salesperson demonstrates the mic, listen carefully Or does it sound like you're by George Mohr speaking into a tuba? Dual diversity means the base unit has two receivers. Let's refer back to our radio station analogy. You are traveling in your car and notice your favorite station fading in and out with a nasty "pffft" sound. This never happens on your home stereo. Any time you move a receiver or transmitter around, the signal bounces off objects in the environment.

    With two receivers and the antennae the receiver. The transmitter is spread a distance apart, if one receiver built into the handle of handheld mics and drops out, the other will still pick up the into a small body pack with headset mics. This is the base unit which sider. Normally, should the mic lose signal receives the signal and connects to your or you happen to accidentally turn off the mixer. The system is analogous to a radio transmitter, a big fat blast of white noise station transmitter and receiver.

    The will shoot out of your system. Auto mute microphone is the radio station and the senses when there is no signal and cuts the. Another important feature is a battery monitor. You should always make sure that the transmitter has some indication of how your battery is doing. Most mics have an LED indicator to warn you when the battery is. Pop goes the tweeter! Keep away from the speakers and if you are doing karaoke, don't let your patrons use the wireless.

    If there are other DJs in the same building, they may be on your wireless mic frequency and you both will be crossing sound on to the others' The system is analogous to a radio sound system. Always station transmitter and receiver. Then go to fading. Other more expensive mics the other DJs in the building and actually have a "fuel gauge" that find out what frequency they are shows you an approximation of on if they are using wireless at all. Try to make ter is also helpful. This way you arrangements with the other DJ to can momentarily cut the sound to use the wireless mic only at certain the transmitter, but still have the times.

    Set up your mics make a loud popping noise wireless mic to get the most out of when you turn the transmitter off. Try not to place the base unit receiver where the antenna's are The mute switch allows you to inside your rack. These units give off radio mic channel on your mixer before frequencies and can interfere with shutting off the transmitter. Usually the best place for a nce you've made your receiver is on a table or on the purchase, there are a few floor.

    If you have a dual diversity things you should know to get the unit, try to space the antennae as best possible performance out of far apart as possible. I have even your wireless mic. Here are the seen larger wireless systems have most common things to keep in the capability to use floor standing mind: Always carry an extra battery. This, of course, may not be practical for Mobile DJs. I know, it's supposed to last four to That should wrap things up.

    Don't count on it! Tune in next time when we watch Always have a couple backup how a woofer cone is launched batteries ready for use. If you are from its basket when we severely using your mic a lot, try using distort an amp. Deer Park Avenue, North Babylon, 2. Catching dial all-important cue in the heat of a mix can be tough To help you stay out of trouble, Slanton offers five headphones designed widi die performance and comfort you need to busta move on every groove.

    It's perfect for diose DJs that can't afford to be tied clown. The headphone features closed ear design with heavy-duty driver for exceptional bass performance. They offer the performance and reliability you need to stay on cue. The inventiveness of wartime was turning out jobs in aerospace, automotive, chemical and other interrelated industrialized fields. Planned housing developments like Levittown, on Long Island, were drawing young families from the cities to the suburbs.

    Friendships forged over picket fences became neighborhood get-togethers giving birth to backyard barbecues and cocktail parties. Each year saw the introduction of cars with longer and larger fins, with chrome everywhere but in the trunk. Formica was a status symbol and the hottest thing in home entertainment was Stereophonic Sound. Carved Tiki statues, lava lamps, bongo drums, and beads were essential pad accessories.

    In these pads, young swingin' bachelors pondered pick-up lines in search of the perfect phrase for seduction. Then it was off to "the games" at a smoky, dimly lit, over-upholstered cocktail lounge. Both were potent, fiery, colorful, and highly intoxicating.

    At one end of the musical spectrum were haunting ballads with sweet and sultry vocals. Alvino Rey's signature was a singing slide guitar. Martin Denny created the sounds of the south seas with exotic instruments and backgroum animal sounds. Les Baxter used persuasive percussion to paint island landscapes to which vocalist Yma Sumac added a spice of Latin. But to say lounge music failed to leave a lasting impression couldn't be farther from the truth.

    Many performers of the last three decades moved to the top after making their marks as lounge crooners and bandleaders. Just like one of these scratchy platters on an old Victrola, '50sbred pop has come full circle, unearthed by a new and exotic audience raised on CDs. They are known as "The Cocktail Nation" and they are highly sophisticated.

    At clubs like Mr. This is not the crowd. Phat's says, "I see this as the ultimate backlash against grunge. These people have simply come to the realization that it's a whole lot better dressing up, sipping cocktails and smoking cigars, than not showering, wearing ripped up jeans and not getting their hair cut. This barkens back to a time when things were a whole lot classier. The men are cool and sharp, and the women aren't afraid to dress and act like women.

    He also spins lounge one night a week at the Three of Clubs. Amor also ties the resurgence of lounge music into the grunge thing. While shopping for suitable attire at local thrift shops, grunge devotees happened upon bins of dusty old LPs with strange titles. Mapays, "Girl From Ipai. At first play, they were taken by the sheer insanity of some of the arrangements. But the more they listened, the more they liked it and soon came to realize that mixed amongst the strange and wacky was timeless music that is pure genius. According to Amor, "Lounge appeals to people in their twenties and thirties who were raised on punk and hard rock and are now ready for something different It also appeals to older people, but for them it's a nostalgia thing.

    If we're Warren often works with Amor playing a wedding, we can play background and dinner music sets that are far more interesting than if we just relied on 90's adult contemporary. We also play a fair number of fashionable cocktail parties These are very fashionable affairs, and the right mix of lounge music is essential to the atmosphere. Considering it's been asleep for almost 30 years Chances are you've already got a working selection of lounge in your library.

    Realistically, the speed and distance that the lounge music moonshot will travel is anybody's guess. Based on its growing popularity in clubs on both coasts and in between, it has far from peaked. Is this just part of "Fifties Fever? Check out the covers on the CDs in your record store's "Lounge" section for an honest look at people enjoying life.

    Louis Prima, "Buona Sera,": For mobiles, the second coming of lounge is prompting more diverse and expanded playlists, particularly for cocktail hour. DJs with an instinct for opportunity can now pour the eclectic works of true mood music innovators into the shaker with established contemporary artists. Check out these recommended series and single-disc releases for starters. Virtually every cut on Volume No. Highlighting Den disc No. J Following suit is Swan's Splashdown by. Kaiser Aluminum Dome between and It's light mood music, with a slight Asian tang, spiced with bird calls and jungle backgrounds.

    Lyman's first album, Taboo, peaked at No. The title song from the LP peaked at No. Some of Lyman's arrangements may be too lethargic or could exceed your audience's tolerance of sound effects, but there are some real gems. On Cocktail Mix No. This is most definitely the olive in the Rhino's musical martini.

    Best of the six disc set is Volume No. Other Discs in the series include: In , in the U. Denny's instrumentals lean heavily on the listeners imagination to freely tie the sounds and rhythmic impulses to a forbidden world of pagan rituals. His creations were to music, what Dali's were to art. As an audio alchemist, Esquivel mixed up volatile arrangements like a 10 year old with a chemistry set. Using sometimes unorthodox sonic combinations, he created a panorama of sound that was never less than extreme.

    No lounge library would be complete without at least one of these Esquivel CDs. Led off with London's signature Cry Me A River, this collection of 18 songs recorded from to flames like a Tiki torch. Whether backed by only a bass and guitar, jazz band or full orchestra, London's sulphurously whispers evoke sex and solitude. This CD scores a 10 on the scale of pure payability to.

    Multiple Use - C0fflEcta ,to six trees together 3. Lucky, Q show on CBS. He remained on the scene, making hits out of sitcom themes and spy-thriller soundtracks. This three-disc set is loaded with far too many great tracks to list. It is possibly the best predominantly instrumental set of all time, with plenty of superb examples of Mancini's magic. After sold out shows in the fall of the core of the group, led by The Millionaire, recorded a demo tape which led to the release of their first CD, I, Swinger. The music is exciting and fresh with an occasional riff reflective of Esquivel, Denny, Mancini or London.

    Both CDs contain a mix of spacey instrumentals, moody ballads, and bluesy torch songs. Box , Cambridge, MA or check out their 3-D web page at http: And while anyone who has gone through the break-up of a marriage knows the pain, they also know there comes a time when the pain passes and they are able to get on with their lives.

    For many newly-singled people, this is indeed a time to celebrate. So if you have not yet been booked to play a divorce party, you may well be soon. Joanne Smith the former Mrs. The beat pounds as she makes her way to the head table where her family and closest friends are waiting. The DJ asks everyone to remain standing and turns the cordless mic over to Joanne, who not only proposes a toast on her own behalf, but thanks her guests for their support through her tough times and to let everyone know she has got her life back together. The DJ then announces Following the meal comes the cake cutting.

    Guests are asked to gather around and witness a strange and unusual ritual. Our ex-bride goes over to the cake which is in the shape of a full bodied male, assumably an animated replica of her ex, with a big red heart in the middle. She proceeds to cut the cake by first cutting out the heart and eating it, all to the approval of her guests.

    Good background music for this weird ritual is Bruce Springsteen's Hungry Heart. You may want to teach a country line dance, do the Electric Slide, the Macarena, or the Conga but don't forget to add these Divorce Party favorites:. All the male guests are requested to form a circle around her. You pick up the beat even more after this and use some of your typical and traditional favorites to get the crowd going. Maybe that's why there are as many songs about breaking up as there are about love. Just V V think if you could do as many divorce parties as you do weddings.

    There's most definitely a market, the problem is targeting this market As this trip was a seven- day cruise, he needed entertainment every night in the ship's lounge. To cover all the bases, he chose an authentic Polish band and a DJ. Avitable spent two nights preparing, prior to boarding, so he could give the group a great party every night. With a mostly young crowd mid-twenties to late thirties it was easy to turn the boat's lounge into a dance club.

    To break the ice, Avitable started off each night with a little trivia and a round or two of "Name That Tune. Avitable was able to spend his days exploring Greek and Turkish culture. And for Avitable, new opportunities are opening up to introduce other ethnic groups to American musical entertainment and fun. Once again illustrating the importance of giving it your best at every event Six oversized, overall, one-piece smocks and 12 large garbage bags filled with inflated inch balloons.

    You'll need five or six couples. I suggest you choose five or six ladies off the dancefloor you could ask for volunteers, but it works best if you select them. With a full dancefloor, announce something like "And now ladies and gentlemen, it's time for our parade of beauties and I would like to introduce our contestants. Then have each pick a partner from the crowd or you can select the men too.

    Next, have each of the ladies put on one of the smocks. Then explain that when you start the music you want the guys to rip open the bags and start stuffing balloons into the large overall, one-piece, smocks on the ladies. After a few minutes, stop the music and the stuffing and start the parade. This machine requires a special fluid. Excellent for public places and large venues. After the "Parade of Beauties" select a winner Proceed to pop the balloons, counting each pop, to see who had the most balloons.

    Once you've got your winner, finish up by getting her and her stuffer a great round of applause. For the holidays, try Santa "Jolly Fat Man" with the women as the stuffers and the men in red smocks and white beards. For more audience participation, have other guests blow up the balloons. If you have trouble finding the oversized smocks, give Sound Spectrum a call at That itch can be awfully hard to scratch when you consider the cost of setting up a home studio. Autoscore comes with everything you need to get rocking, including a microphone and MIDI recording software.

    This data is transcribed into musical notes which can then be played back and edited. Here's the actual screen display of transcribed music performed by Autoscore from guitar loops taken Edit. For many years MIDI has been the exclusive domain of musicians. Autoscore goes one step further by giving DJs, even those who can't play an instrument, the ability to score music. This enables you to lay down music tracks without the use of a keyboard. Once you have laid down a few tracks, you can change the sound of each instrument track with a choice of 12 8 preset instrument filters. You can also edit these filters or create new ones to suit your needs.

    The circle at the top of the screen shows the menu bar icon that Autoscore adds to the host software, which in this instance is Recording Session from Midisoft. For further information contact Wildcat Canyon Software at or by fax at 5. Mobile Beat Test Bench 2 Other components used in this product evaluation included: Marantz PMD Mixer: Aphex Aural Exciter Model Equalizer: Ashly GQX Speakers: Bag End TA Jrs.

    So how do you make the choice? What are you really looking for? In terms of what works well in the real world of the Mobile DJ or KJ, the first priority is rock solid reality. You can't afford a breakdown. Even if you have a spare amp in the truck, it's still a hassle. So it's best to start off with something you can trust right out of the box. Next, of course, is sound quality. A reliable amp that puts out noise and distortion may be marginally better than no amp at all, but only in a dire emergency. So how does all this apply to Crest's new V Series? Accepting the fact that there is no easy way on a bench test to adequately determine an amplifier's reliability in the real world, we simply do the best we can to get them to break.

    At this point, our Crest VI5 00 In addition, it was subject to an accidental fall typical of what could happen on the road from a height sufficient enough to bend one of the rear mounting plates. From our non-scientific tests of this sample from Crest's V Series, it appears this line is up to the rigors of mobile work. When connected to the system and set at a typical operational level, any noise through the speakers was traced to other components.

    In fact, it had plenty of power for a larger set of twoways. All the while, the sound was clean with no noticeable noise or distortion. If you appreciate great sound, and the rest of your system is clean, you'll find the VI a fine addition to your gear. The front side of the speaker is sealed from the rear chamber which is vented. A traditionally vented subwoofer incorporates a low frequency driver installed in a vented enclosure. The front side of the speaker is in open air and the rear is in the vented enclosure.

    The sound is radiated from the front and rear of the speaker while utilizing the vent to determine the low frequency response, while allowing the driver to reproduce high frequencies up to its mechanical limitations. Plug in any fullrange signal and the bandpass subwoofer will only reproduce the low frequencies from 35 Hz to Hz.

    The MTX PWRS15 is an 8 ohm subwoofer, giving you the ability to parallel a typical 8 ohm 12" and a horn fullrange cabinet loading the amplifier to 4 ohms and increasing its power output. As long as you have sufficient power amplification for your fullrange cabinets, there isn't a need to purchase another power amplifier for the bandpass subwooferl In addition, there's less distortion. Distortion elements are upper harmonics of low frequency fundamental notes.

    Automatic Clip Limiting indicator. To further extend the life of the amp, a two-speed fan pumps cool air over square inches of heat sink. Crest's V series amps are backed by a five-year warranty with receipt of your registration card. Model numbers reflect the 8 ohm bridge power ratings. If pops, clicks and static are chasing your audience off the dance floor, then it's time you stalled cleaning up your act. With SC 4 stylus and VC-1 vinyl care products from Stanton you can get your mixes oil to a cleaner start.

    Nothing degrades sound quality and shortens record life faster than a dirty stylus. Caked on debris and other contaminates on the stylus tip, such as those pictured in the photo, reduce tracking accuracy, increase record wear and degrade fidelity. With Stanton's SC 4 cleaner kit you can safely dissolve dirt deposits on the stylus tip and gently sweep them away with the specially designed cleaning brush. Regular use of VC-1 vinyl cleaner can help eliminate pops, clicks and other surface noise caused by dirt and debris on your record.

    VC-1 cleaning fluid is specially formulated to reduce the static build up on your vinyl which attracts dirt and debris. Don't let record noise and static hurt your mix program. Clean up your act with SC 4 and VC-1 from Stanton and say goodbye to pops, clicks and static forever. Other high-performance features include programmable looping, variable pitch, pitch bend and bit technology with 8X oversampling. KR Series speakers from Celestion Ideal for mobile applications and fixed Installations, Celestion's new KR Series combines tough injectionmolded cabinets with high performance drivers and futuristic styling.

    The full-range KR4 features an 8" bass driver and 1" metal dome tweeter. This 4-ohm system has watt power handling and sensitivity rating of 92 dB. Both speakers come with integral 35mm pole mounts for mobile applications. Makes an excellent secondary playback source for mobile DJs and as a background music source for clubs and eating establishments. Packed with 12 dichroic colors plus white, and nine distinctive gobo patterns — from abstract geometric shapes, to stars and skylines, the EL will energize any stage or dance floor.

    The EL features built-in pre-programs and an internal microphone for sound activated effects that change to the beat of the music. Works well as a stand-alone effect or in multiples for larger venues. This compact four-pound unit is great for mobile applications and features DMX protocol. This sound-activated moonflower effect, features stepper motor design and seven brilliant dichroic colors, plus white.

    The semi-intelligent effect has its own built-in pre-programs that drive the movement of its razor-sharp beams. Synchro-Star weighs just 15 pounds and comes in a compact case with a hanging bracket for easy portability and mounting. The Synchro-Star is made in the U. As the Gobos move, they change size, growing and shrinking to the beat of the music, to create a spellbinding visual effect.

    The EL is sound activated and features seven changing Gobo patterns and six exciting dichroic colors on a rotating head. The unit's lightweight extruded aluminum case and hanging bracket make it easy to set up and take down in mobile applications. It is simple to operate and is the perfect tool for adding more punch to recordings and live performances. DJs can use the to pull more overall volume from their systems by controlling the peaks that would otherwise damage system components at high volume levels. The midrange driver is also new, utilizing a refined two-inch diameter titanium dome.

    The high frequency driver incorporates a new technology tweeter phase plug. Comes with overload protection circuitry 8-ohm models only , detachable rear cover conceals and protects input connectors and rotatable grill-mounted logo for vertical or horizontal positioning.

    The system includes a high pressure and high output motor that is attached with a rubber cushion to minimize vibration and noise. Snow output is fully variable and the unit can be daisy-chained for series and synchronous operation. Comes with five-liter storage tank and wired remote. Both are simple and easy to operate with solid rotary controls that "click" when turned for precise level adjustment, with Linkwitz-Riley 24dB-per-octave filtering for optimum sonic performance at the crossover frequency.

    High-quality power supplies are housed inside, eliminating the large outlet-mounted transformers. Both are backed with a two-year warranty on parts and labor. KIS introduces new DJ series The KLS Galaxy foreground produces a high power, wide angle spray of multicolored beams that revolve back and forth to the beat of the music. Features include internal mic sound activation, three function settings, pure dichroic filters and superior optics.

    Compact design is perfect for mobiles. The KLS-SE Moonscan background is a smaller version of the popular club series effect It uses pure dichroic filters and superior optics for rich colors and maximum light output Unit is sound activated with an X, Y mirror head system with internal microphone. A speciallydesigned wheel has 16 positions with a combination of nine colors, five full beams, two split colors, one quad color and eight gobo patterns. This lightweight effect can operate in any position and is perfect for mobile applications.

    Test Bench The following components were used in the product evaluation. To take advantage of the DNF's powerful disk changer capabilities requires the use of a Windows-PC or Mac computer and the supplied control software. You can also create and store your own personal playlists or enjoy random playback of songs by music category or any other parameter you might choose. To get up and running on the MAC with Song.

    If I had 5 g's rattling around in my pocket I'd run out and purchase this baby in a heartbeat. Whoever is shuffling the deck at Gemini these days sure knows how to deal a winning hand. Used in conjunction with the sampler,. Their as promised and it does it location just above the quietly and without delay. A pan will accommodate three control provided left and turntables, three line right balancing of the sources and one mic.

    The overall layout samples. Each nitely no joker. Box Corporate Blvd. Suite D Aurora, IL The front panel, which looks like a cross between a VCR and a stereo tuner, features inputs for a stereo video and S-video source. When used in conjunction with the Rec Select button, these same controls allow you to choose an output source for recording.

    Hidden from view behind the unit's illuminated digital. Two rear panel RCA jacks are also provided for use with other RC-5 compatible remote control audio components. A separate video jack is also provided for direct connection to a video monitor. The Remixl6 borrows some of its styling from its big brother the MPC For temporary storage of samples Remixl6 comes standard with 2 megabytes of RAM for 30 seconds of sampling time. Memory can be expanded to 18 megabytes for seconds of sampling time using standard pin SIMM.

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    Go for quality, go for modular construction, invest in. We kindly extend our apologies to any companies that may have been overlooked and invite them to contact us for inclusion in the future. Cases also available for lighting, karaoke systems, costumes, speaker cabinets, etc. Custom cases are our specialty! Hollywood, CA Fax: Broadway Denver, CO Fax: Brockton, MA Fax: Fall River, MA Fax: Box Canton, OH Fax: Our combo racks are the answer to a DJ's equipment storage problems. There are 10 spaces angled on the top to accommodate mixers, dual CD controllers, wireless microphones, or whatever!

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    Gray carpet covering, chrome finished comers and recessed handles make this a great looking and extremely rugged road case. Showcase Amp Racks All amp racks are available in 4, 6, 8,10, or 12 space sizes. Showcase Combo Racks are designed to sit on top of 10 or 12 space amp racks which come with casters for an organized "vertical" presentation eliminating the need for a table. Our 4, 6, and 8 space sizes are great "side by side" with a combo rack on our Showcase Ultimate Sound Stage. A very durable case designed to accommodate heavy amplifiers and rack mount gear.

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    Showcase Turntable Case This rugged turntable case is designed to hold the famous Technics and other standard sized tables. Internal foam padding provides transport protection. The cover locks with two heavy duty latches and is completely removable. Gray carpet covering, and heavy duty chrome hardware make this an inexpensive way of keeping this delicate equipment trouble free.

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    Showcase Presentations universal case design employs the system building block concept, eliminating the need for a custom case. All of our combo and amp racks fit neatly side-by-side or on top of each other. Wires are fed through port holes that line up with each other on the sides, top, and bottom allowing the back covers to remain in place hiding ugly connections.

    The modular design lets you break your system down into as many components as necessary. New Order — True Faith 9. Belinda Carlisle — True Heaven idea by Payroll Smokey Robinson — Tears of a Clown Missy Elliott — Lose Control Kraftwerk — Home Computer It's kind of impressive that "remix culture" had become such a part of the music world by this point that the show was put in touch with Nine Inch Nails' people as part of a remix contest, which I actually asked for submissions for on the air and got like 20 or 30, I seem to remember, and then people actually voted, and Russell Vargas won.

    Anyway, the show makes the mistake of playing around with the NIN vocal even after 4 minutes of Russell's mix, and it gets a bit tired even when accompanied by the still blazingly awesome "Bone Machine. I have no idea, honestly. I would say I wish I'd had a quality acapella of "Beat It" to put over Gorillaz at the time because man that would have really worked, but unfortunately the extracted pella I'm using here is pretty sloppy and kind of ruins the whole thing.

    Clever to match up the computer arpeggios from Missy Elliott and LCD Soundsystem with their grandparents Kraftwerk, but I'm not sure it's that much fun to listen to, and then more Kraftwerk, with the first apperance of a mashup that ended up being a favorite with some fans but I always thought was kinda half-hearted.

    Anyway, like a couple shows around this time, I have to give this an A for Effort, but that doesn't excuse the sloppiness and as Nina Garcia might say, the "taste level. Tears for Fears — Shout a capella 4. Stevie Wonder — Superstition 6. Black Eyed Peas vs. Gorillaz — Dirty Harry 9. Yes — Lonely Rebellion Party Ben mashup Killers — Somebody's Sunglasses Team9 mashup This is an episode with a lot of really interesting work from other people, but not really connected that well by me.

    We kick off with DJ John, a Bay Area guy who didn't make a ton of stuff, but what he made was always a barnstormer, and this track, while based around the Eagles and the "Da Funk" beat, uses a pile of samples to sort of create a chorus out of nothing. I really wish my attempt to marry Arcade Fire with the Max Graham mix of Yes was as successful but it never quite gels.

    Some awkward transitions between awesome mashups follow. It's more of a showcase, I guess, which is fine, since this was the heyday of amateur mashuppery, but as an overall show, it's choppy. OutKast — Bombs over Baghdad 3. Cyndi Lauper — She-Bop 4. Beck — Girl 5. Soulwax — Any Minute Now Whitey remix 7. Gwen Stefani — Mickey's Orchid Fidelski mashup 8.

    Gorillaz — Feel Good Inc a capella Green Day vs Depeche Mode vs. Well, so, apparently something in the air in mid-July or perhaps finally being sick of producing lackluster shows all summer inspired me to get back on the horse, so to speak, and Sixx Mixx 94 begins a run of more or less quality shows until the sigh end of the Sixx Mixx in December. This episode isn't perfect but it aims high, and starts with a mashup that was always a personal favorite, despite the fact that its source material on the QOTSA side at least wasn't exactly well known.

    This episode does the opposite of my usual Sixx Mixx and DJ set strategy of continually increasing the tempo, and in fact slows down with each song, but that in and of itself doesn't detract, I don't think. The last 10 minutes falter, sure, with some familiar stuff and a lumbering, awkward remix of "Bizarre Love Triangle" sorry, Crystal Method, but it doesn't hold up. But it does feature the first appearance of the towering, legendary "Greenday Massacre" which was to eventually inspire the Dean Gray album coproduction with Team9, and the mix out of Lovemakers foreshadows the final episode.

    Flipsyde — Someday acoustic version 3. Moby — Natural Blues Moby's remix 4. The Chemical Brothers — The Boxer 5. The Freestylers — B-Boy Stance 8. Queen — Doorbell Encore Team9 mashup 9. Ils — Cherish Gorillaz — Dirty Harry U2 — All Because of You Killahurtz remix So, this episode is pretty bad, but a it's not quite as bad as some of the clunkers earlier in the summer and b it marks pretty much the final not so great episode of the Sixx Mixx, as next week's show starts a run of adequacy that continues until the end.

    We kick off with an extraordinarily ill-advised combo, as I'd had such success with my previous Lyrics Born production, but I remember really racking my brain to come up with something to put with his followup "I'm Just Raw," and boy, Audioslave sure wasn't it. However, the brief layering of the forgotten Flipsyde over the intro the Chem's "Boxer" is really quite lovely, and the middle section with all the White Stripes and Joan Jett is fun, at least. Things go off the rails entirely at Dirty Harry, that NIN mix is abysmal, and then I just give up and play a couple of other people's tracks without even really doing much to them.

    So, again, despite my best efforts to make a terrible show, there are bright spots. The White Stripes — Blue Orchid 4. Gwen Stefani — Hella Good a capella 6. New Order — Blue Monday 9. Interpol — Evil The Pixies — Wave of Mutilation Daft Punk — Technologic Devo — Whip It Daft Punk — Technologic Basement Jaxx remix vs. Guns 'n' Roses vs. Pepper's Paradise Jimmy Jammes mashup Commentary: Will Smith — Switch 3. David Bowie — Fame 4. Filter — Hey Man Nice Shot 5. Daft Punk — Robot Rock 6. Modest Mouse — Ocean Breathes Salty 9. Lyrics Born "Callin' Out" acapella Jane's Addiction "Been Caught Stealing" The Beatles — Sgt.

    Pepper's Paradise Jimmy Jammes mashup Gwen Stefani — Hollaback Orchid Fidelski mashup Electric 6 — Mickey at the Gay Bar Cropstar mashup Overall a sludgy and unfun show, despite some fun individual mashups, not made by me. The less said about including Will Smith's "Switch" here the better, and the turgid layering of "Hey Man Nice Shot" over "Fame" is more or less unlistenable. The overall terribleness is made all the more evident in comparison with Go Home Productions' thrilling "Breaking My Bloody Process," which still gets my blood pumping to this day.

    And of course, the Star Wars version of Liam Lynch is still laugh out loud funny. The three Scientific Sixx Mixx points being awarded here are despite my own work, not because of it. Green Day — Boulevard of Broken Dreams 2. Lyrics Born — Callin' Out a capella 3. Franz Ferdinand — Take Me Out 7. Blursabian — There's No L. Party Ben mashup 8. Aerosmith — Dream O n Live Commentary: This isn't really the place to reconsider the decision to theme my DJ set in the Subsonic Tent at BFD around remixes and mashups of other artists performing on the festival bill, although one could easily say to Party Ben, "What the hell are you doing?

    That is a supremely terrible idea. Take like 30 seconds of these wasted hours and go buy some Google stock! Mixes sound forced and awkward, and it's just kind of confusing. Let's pretend it never happened, and that I'm currently in my pool I bought with Google stock. Roy Lichtenstein, "Sleeping Girl," The Police — Message in a Bottle 5. Green Day — She 6. The Cure — Walking Dead Party Ben mashup Beck — Girl Postal Service — Such Great Heights The Cure — Close to Me Despite the cheekiness of the episode title, "mediocre" is pushing it, and "best" is clearly misinformed.

    After the small but important successes of the previous two shows, this is a big step back -- why didn't I just play a repeat?? Franz Ferdinand — Take Me Out 3. Houston — I Like That 4. Alice Cooper — School's Out 7. The Timelords — Doctorin' the Tardis 8. Green Day — Holiday 9. The Beatles — Lovetax Team9 mashup Interpol - Evil Devo — Whip It Commentary: At the time, a few '80s themed radio stations had just popped up, so, yeah.

    Anyway, while this set does rely heavily on some corny new wave, it's actually a pretty good little half hour, and even its missteps are sort of admirable efforts, and of course, we get the first prototype of what would eventually be a "major" for me Party Ben track. The Thomas Dolby section at the top is amusing enough, and then we veer into a pre-name version of "Dr.

    Beck — Ghettochip Malfunction Hell Yes remix by 8-bit 4. Beck — Hell Yes Original 5. Z-Trip — Death Star Boogie 6. Eric Clapton — I Shot the Sheriff 7. Chemical Brothers — Galvanize Extended Mix 8. Cake — Love You Madly Gwen Stefani — Hollaback Girl a capella Alive djbc mashup Will Smith — Switchin' Alive Cheekyboy mashup So, one of my great regrets is that I didn't come up with one of my most popular mashups during the actual reign of the Sixx Mixx, or at a time when it would have likely been a sensation rather than just a fan favorite, and this show proves just how dense I must be to have missed it.

    This episode aired one day after the release of "Revenge of the Sith," in the midst of a sort of worldwide Star Wars mania. Moreover, I actually play Z-Trip's "Death Star Boogie," the obvious inspiration for "Galvanize the Empire," mere seconds before "Galvanize" itself, and instead of discovering their potential musical partnership, I spend a few minutes doodling around with "I Shot the Sheriff. Can you imagine how popular "Galvanize the Empire" would have been if I'd put it out that day? I would have been king of the world. One of the central early pioneers of the "American style" of mashuppery was the Las Vegas Inhumanz crew.

    Often preferring to release their tracks on vinyl or white labels and eschewing the internet, it seems to me they're somewhat unsung nowadays, despite the fact that their work spread far and wide. As DJ Create's guest mixx proves, their tracks found their way even into the hands of Howard Stern, whose radio show I worship to this day but whose musical taste could never really be described as "adventurous. This is the sound of The Beatles — Eleanor's in my Head Team9 mashup 6.

    Batman — To The Taxmobile Lenlow mashup Caesars — Jerk it Out Kelly — Dollar Bill Abba — Money, Money Money Pink Floyd — Money Gwen Stefani — Rich Girl Dire Straits — Money for Nothing This is a show that, judging by the playlist, should be good, but it just isn't, with the segues awkward and forced and the various mashups feeling a bit random. It just gets worse from there, with a far too sudden and weird mix into the Human League, and then I speed up Human League even more to make it "flow" into QOTSA but it just sounds terrible. I hate my layering of Journey over the Prodigy after Zebra's White Stripes mix, and while it's admirable I made an attempt to play some MIA in prime time, it's also pretty random.

    Then somehow the humor and delight of the previous subject matter mixes "Fire," specifically, in Sixx Mixx 72, still makes me chuckle is completely lost here in the Money mix. Maybe it's that I had to speed everything up to fit over the MIA beat, but something just feels off and not funny or fun, even though there's something possibly proto-Earwormy about the arrangement of various songs at the end.

    Overall this is just not good at all.

    1 204,12 RUB

    Plus I listened ahead and things really don't pick up again save Create's at Episode 86 until June or July, so feel free to come back then. Dennis Hopper, "Hippie Girl Dancing," The Police — Message in a Bottle 7. Franz Ferdinand — Michael 8. The Yardbirds — For Your Love George Michael — Freedom Rage Against the Machine vs. Gwen Stefani — Rich Girl a capella While the preceeding months had seeming been spent defending my show from attackers on all fronts, I was seemingly unable to translate that passion into episodes that were actually good , and while there are a few moments of interest this week, it's mostly a bust, and at times unlistenable.

    It's the first appearance of another listener-suggested mashup, Cake vs. Gorillaz, which is OK, and the GHP combo that follows proves that even when he was making a "throwaway" he was operating at the peak of his powers. The smidgen of QOTSA over The Police is kind of nice, as is the quick shot of Yardbirds, and there are some fun tracks by a slew of local Bay Area talent, but somehow it all adds up to less than the sum of its parts, with awkward, forced segues.

    The best thing about this episode is its title, a direct quote from then-just-ascendant Pope Benedict XVI, who as Cardinal Ratzinger in described rock and roll as "the complete antithesis of the Christian faith in the Redemption," saying that music culture was a "secularized variation of an age-old type of religion in which man uses music — and drugs and alcohol — to lower the barriers of individuality and personality, to liberate himself from the burden of consciousness.

    Jean-Antoine Watteau, "Qu'ay je fait, assassins maudits," Right-click for direct download: Bloc Party — Banquet Phones Disco remix 4. Iggy Pop — The Passenger 5. Green Day — Longview 6. Stray Cats — Stray Cat Strut 7. Green Day — Holiday 8. Green Day — Boulevard of Broken Dreams Aerosmith — Dream On Blondie — Heart of E Dsico mashup So, roundabout now, we were in an era of Sixx Mixx Backlash. The local alt rag SF Weekly had taken a stance against my show and portrayed me dead and naked, floating in the Bay , and in an interview with Z-Trip, one of their writers had egged him on to the point he made a series of insulting if nonsensical comments about mashups, his point being that producers were "fake" DJs, and every mashup idea was "bit from a DJ.

    Trip live on the air and asked me to come in and talk to him about this stuff. It was all very strange for me as I had long worshipped Z-Trip's mix albums and live shows and considered him a great inspiration for the Sixx Mixx, and his comments made no sense to me. While I tried to be respectful in our conversation, the effort more or less backfired, and I found myself the target of even more attacks from furious Z-Trip fans. At the time, all this negativity was really upsetting to me--I was just trying to make a fun show for commuters driving home and suddenly people were acting like I was a monster and a fraud.

    What I wish I understood then was the concept of "trolling"; it was the early days of the internet pre-YouTube even! And of course, Z-Trip's own overreaction was similar to secretly gay politicians railing against gay rights, as it turned out that of course he had been using software to make edits he was playing live. In any event, that's what the last track of the mixx is all about, and it includes some of that conversation with Z-Trip.

    As far as the first 27 minutes of the show goes, it's okay, with wayyyy too much Queens of the Stone Age to start with and some extremely awkward mixing with various Green Day songs, as well as major segments of previous shows. So, um, not exactly the best show to prove the haters wrong House of Pain — Jump Around 3.

    Stooges — Slash '69 DJ Zebra mashup 6. DJ Godzilla mashup There were countless DJs and producers who contributed amazing work to the Sixx Mixx, from one-off novelties to entire guest shows, and all of them are awesome in their own ways. But out of all of them, I think it was French producer Antoine Minne a. DJ Zebra who most "got" the show. Of course, that's partially because we were sort of living parallel lives: Of course, Monsieur Zebra has gone on to become a veritable superstar in France, whereas I'm sitting here typing this on a Saturday night.

    But partially thank to his championing of my work, I had a brief spurt of notoriety in France and was lucky enough to DJ there multiple times, and always felt a connection to the place. And of course over the years we've become good friends as well. On the subject of this episode specifically, it's a corker. He kicks off with a radically reworked version of the popular Franz Ferdinand mix, and the set just knocks it out of the park over and over, touching on LIVE faves like Kasabian and Radio 4 and tossing in more Sixx Mixx favorites like his Prince vs.

    Jet combo and his Kinks remix. We also get the debut of his Shaggy vs. Rage track, which would go on to be a bit of a thing. Queen — We Will Rock You acapella 2. Queen — We Will Rock You acapella 3. Kasabian — Reason is Treason 6. The Chemical Brothers — Galvanize 8. The Chemical Brothers — Galvanize unknown remix 9. You'd think, with Dr. Demento-style musical prankery at the core of what the Sixx Mixx was about, I would have treated an April Fool's Day Mixx with just a little more care.

    Deep Purple — Smoke on the Water 3. Outkast - The Way You Move 9. Tone Loc - Wild Thing Newcleus - Space Is The Place The Bravery — Honest Mistake Superdiscount remix Dwarf Punk — Da Phunk Colour Me Badd vs. I'm guessing the title refers to a cold or flu or something I had, and with that in mind, this episode isn't so bad. This is an early draft which I ended up calling Version 1. Most of the episode rips from previous shows, the 80s hip hop segment from Episode 24, for instance.

    I do like that weird remix of E-Pro at the end, and then we get a totally silly but still chuckle-worthy to my immature ear at least medley of Colour Me Badd with the Pat O'Brien phone messages that had just come to light. Overall though, the episode feels awkward and forced together, and a little flu-y.

    Chris Wood "Spira" Right-click for direct download: Daft Punk — Robot Rock 2. Twisted Sister — I Wanna Rock 3. The Cure — Hot Hot Hot!!! Kidz Bop Kids — Float On 7. Beastie Boys — Triple Trouble a capella Stone Roses — Fools Gold Europe — Somebody's Countdown Lionel Vinyl mashup Smashing Pumpkins — New Originals mix My parents were actually visiting and in the studio during the broadcast, thus the name. Anyway, so even then, the week of its release, I was really trying to force myself to like "Robot Rock," which in its original form is super boring and irritating, something that's hard to remember post-Daft Punk Alive which put the track to such perfect use.

    But even trying to liven it up with "I Wanna Rock," it's a tough sell to start the whole show with it. Thankfully things get better fast, with two delightful Cure mashups and then the classic Dolly Parton into Royksopp segment from Radio Soulwax which always seemed to kick the Sixx Mixx into high gear when I played it. Then we get a couple upbeat remixes and a finale that was actually an audience suggestion -- people would write me all the time in the Sixx Mixx heyday with ideas but they were usually like "hey Party Ben you dumb fatso, mix together Green Day and Green Acres.

    Jay-Z — "99 Luft Problems" 4. Beck — "Where it's At" 6. Pharaoh Monch — "Simon Says" 7. Franz Ferdinand — 'Take Me Out" 8. Blackstreet — "Blacksmiths" StvD mashup The Music — "Breakin'" Jane's Addiction — "Been Caught Stealing" This episode is just the majority of episode 66 with different first and last tracks. Only posting it for completists, I guess. Are there Sixx Mixx completists? The Clash — Rock the Casbah vs. New Order — Subculture 4. Duran Duran — Girls On Film 5. Nirvana — Lithium Dirty Funker mix 8. Soulwax — Teachers The Chemical Brothers — Galvanize Switch remix Tone Loc — Funky Cold Medina Foreigner — Hot Blooded Franz Ferdinand — This Fire Playgroup mix U2 — Vertigo Jacknife Lee 10" mix From start to almost finish, this episode kind of epitomizes the strutting electro-rock sound that was such a thing in the mids.

    While Mylo's angular take on "Somebody Told Me" is, I would argue, one of his less successful efforts, it sets the jaunty tone for this episode. Immediately following we get the first prototype appearance of a mashup that would go on to be one of my most well-known tracks, mixing the Killers with the Clash, the best by far of the three quick tryouts we get right in a row boy I sure had to speed up New Order to make it work there didn't I. The remix of "Galvanize" marks the first Sixx Mixx appearance of Switch, a guy who would go on to become one of my favorite producers of the s--his original "This is Sick" and work on MIA's Arular would both come out later in Anyway, back to the Mixx: We get a little more Soulwax in their mix of LCD Soundsystem, and if I'm honest, this whole episode is more than most, even a kind of 2manydjs tribute, with its non-stop driving tempo and back-and-forth between rock and electro.

    As is well known, Negativeland and SST were sued and force to withdraw the release of their "U2" EP, on the grounds that the cover, featuring "U2" in large type, might confuse actual U2 fans. What's ironic is this actually happened to me in I was flipping through the stacks at my local record emporium in Minneapolis, and came across the EP, not knowing what it was, I was like, "why have I never heard of this U2 album called 'Negativland'?

    After Club Sixxx - Summer of Lust (Paperback)

    Boy, did I feel stupid later. But I think playing it on drive time radio in the band's hometown of San Francisco, 13 years later, makes up for that a little bit. The Beastles Beastie Boys vs. Beck — Hell Yes 4. The Chemical Brothers — Galvanize 5. The Chemical Brothers — Galvanize half. The Bravery — Honest Mistake Duran Duran — Planet Earth Bloc Party — Banquet Phones Disco edit The Cure — A Forest Lynyrd Skynyrd - Sweet Home Alabama reprise I think what was both a positive and maybe a negative about the Sixx Mixx was that I had very strict "rules" about what I would play, and how I would mix things together.

    As a prime-time show on a mainstream alternative radio station, I wanted to be very conscientious about keeping the music both familiar and friendly to that audience as well as just fucked up enough that there was, you know, a reason to tune in and people would go "whoa. With the mixing, I was very strict with myself as well, really trying to mix in key and not just throw hip hop vocals over the latest indie favorite, and trying to be as true to the tracks' original pitch and tempo as possible. On the positive side, this hard work made the show popular with a wide group of people and individual shows are, at their best, cohesive and focused.

    On the negative side, it meant that I repeated a lot of tracks, since there were so few that qualified like say Slide 's remix of "Seven Nation Army, a hugely popular song turned into an awesomely new but still recognizable remix. It also meant I wasn't ever able to make the sort of conceptual leap to the next "big thing" in mashuppery: Girl Talk -style hyperspeed mayhem, jumping from track to track without worrying so much about every combo being perfect. A little bit of freedom to just "muck about" might have made the show more fun and my Thursday nights might have ended earlier.

    But what's good about this era of the show is that while there's still some repetition from one week to the next, I feel like it's more about taking the most successful segments of previous episodes and improving on them, building on them. The show really feels like it's "evolving" around this time, mutating in fun and exciting ways even while maintaining themes we might have heard a week or two ago.

    Anyway, starting at the beginning, we get the first play of another of bc' s fine Beastles tracks, and the first play of Mei-Lwun 's towering "Sweet Home Country Grammar. The Gwen Stefani section in the middle isn't my favorite, to be honest I wasn't a fan of "What You Waiting For," but the mashups are fun and quality efforts. We get the debut of Bloc Party 's "Banquet" -- some big first plays on this episode! I should probably have fleshed out a full fledged mashup from the Cure thing. Now, I really wanted to come back around to "Sweet Home Alabama" at the end, as a kind of "reprise," but I couldn't quite make it work -- I even sang the chorus myself to add a little oomph to the vocals in the absence of an acapella.

    I guess the idea is good enough that I can give it a pass, but I cringe a bit hearing it. Anyway, overall I feel like this episode is still pretty much a home run despite a few stumbles here and there and perhaps a bit of a slow front section, and if you take all my arcane rules into consideration, it's hard to imagine an episode fulfilling those goals better.

    The Killers — "Mr. Brightside" Thin White Duke remix 2. Van Halen — "Jump" unknown white label breaks remix 3. Presidents of the USA — "Lump" 4. Peaches — "Kinky Peaches" unknown white label mashup 6. The Caesars — "Jerk it Out" 9. Kasabian — "Reason is Treason" Interpol — "PDA" Devo — "Working in a Coal Mine" The Knack — "My Sharona" Franz Ferdinand — "This Fire" Madonna — "Burnin' Up" Ash — "Burn Baby Burn" The Trammps — "Disco Inferno" Jimi Hendrix — "Fire" Duran Duran — "A View to a Kill" Prodigy — "Firestarter" Electric 6 — "Danger High Voltage" Deep Purple — "Smoke On the Water" The Cult — "Fire Woman" Bloodhound Gang — "Fire Water Burn" Talking Heads — "Burnin' Down the House" Bruce Springsteen — "I'm On Fire" Ohio Players — "Fire" The Pixies — "Dig for Fire" Johnny Cash — "Ring of Fire" While this episode contains as its gooey center about nine minutes of Sixx Mixx 64, for some reason that doesn't bother me too much here, probably because it feels like I took the best part of that episode and then surrounded it with more excitement.

    We kick things off in the Sixx Mixx tradition of starting with a brand new release, which is good and bad -- I liked featuring new music, but hearing one song for four minutes can be a bit of a drag. Brightside" that would go on to win a Best Remix Grammy, and it's honestly really good, so we'll allow it. The Van Halen to Interpol section is odd but enjoyable, and there's a high level of difficulty with all those loud rock tracks. I also still really enjoy the raucous section of Mixx 64 which seems to mash up mashups until songs are swirling around like toys in a kid's room when there's a poltergeist.

    What's funny is that despite the silly concept, I do kind of like the track's production, layering as it does the Devo bassline over it all. Anyway, then we come to the "fire" megamix. I had actually done this sort of thing as a teenager, I think I made a "baby" mix on my cassette player.

    I don't know what inspired me to do try it again here, but I remember having to sort of argue with myself, part of me thinking it was dopey and childish, another part of me giggling with glee. Obvoiusly that part always wins. Originally broadcast version download: Soup Dragons — "I'm Free" 3. Led Zeppelin — "Whole Lotta Love" 4. Faith No More — "Epic" 6. Jay-Z — "99 Problems a capella 7. Chemical Brothers — "Galvanize" 9. Chemical Brothers — "Galvanize" half.

    The Bravery "Honest Mistake" Duran Duran — "Planet Earth" We kick off somewhat refreshed, with what is overall a bright and witty episode. Of course you have to get through another appearance of Blur vs. Kasabian before things really get rolling, but once they do, it's pretty fun. It marks the first appearance of my Led Zeppelin vs.

    Snoop mashup which went on to be a fan favorite, but I have to say I enjoy the Soup Dragons being used as a "bridge" to get there even more entertaining. The transition to Faith No More totally makes me chuckle, and of course nice to see a little MIA in the mix the track had just been released in late Then a bunch of other mashups make their show debuts: Payroll's driving The Music remember them??

    Then, as in Sixx Mixx 49, I steal a few minutes from 2manydjs which put to shame anything I've ever done, two super-cool exclusive tracks they included in a BBC Essential Mix that I would have happily played myself if I'd had them. I even wrote to Gomma requesting a promo CD of "Satisfaction" so I could play a non-radio-rip copy since it was completely unavailable in the US; they were kind enough to write back and say "No, we don't care about American promotion.

    So yeah this is a "cheat" and whatever, lifting another radio show, but from the standpoint of the finished product, it fits right in. So, like I said, overall it's an appealingly silly episode, if not exactly ground-breaking. Grandaddy — Alan Parsons in a Winter Wonderland 9. Low — Just Like Christmas Commentary: In , I sort of "punted" on acknowledging the holiday season. Plus, the show itself would fall on Christmas eve which seemed the perfect time to try out an all-Christmas novelty Mixx.

    In effect I just took Riko's set and sort of dumbed it down for the LIVE audience, adding in some favorite mashups and alt-y tracks Grandaddy! But it's mostly thanks to Riko, and it turns out he's still making his Christmas sets, which you can download at his website here. U2 "Sunday Bloody Sunday" 4. Beck — "Where It's At" 6. Steve Miller "Tipsy Butterfly" 7. Modest Mouse "Float On" 8. Beastie Boys "Intergalactic" 9. Beastie Boys "Intergalactic Friends" Ultra mashup Nirvana "Rape Me" Chemical Brothers "Galvanize" Another hodgepodge of previous episodes, although it does flow pretty nicely.

    The obscure Kasabian remix makes more sense if you consider that LIVE added five Kasabian songs to its playlist around this time. I've called him the Metallica of Mashuppers--an artist who elevated an often adolescent and novelty-focused genre case in point, me into true art, the act that both defines and stands above the style itself.

    I can't remember if we had him coming in to play at Bootie this week or if this set was apropos of nothing, but it's a real barnstomer, and Mr. Vidler clearly made the effort to keep things alt-rock-radio friendly, something that always made me nervous with guest mixxerz since I was kind of a control freak.

    Anyway, it's a real honor he was on the show. Chemical Brothers — "Galvanize" 2. Grandmaster Flash — White Lines 6. That in itself is pretty silly. Most weeks I would finish up the mix, burn a CD, hop on my motorcycle and speed over to the Metreon where me and the current host would intro the mix. There was another layer of absurdity, however; I'm not sure whose idea it was, but somehow somebody secured a dance troupe of youngsters, who performed various breakdancey type routines for the half hour of the show, right there in the atrium of the mall for everyone's entertainment.

    It was so weird but kind of awesome, and for some of the shows in , hundreds of onlookers would have gathered by the end of the mix. Like, seriously, huge crowds. So, my job for these mixes was even harder: So, this mix is basically a cobbled together mishmash of previous episodes, although it is noteable for the first Sixx Mixx appearance of the Chemical Brothers' "Galvanize," a track I would later mix with some Star Wars I kick myself to this day that I didn't come up with that mashup until after the Sixx Mixx ended, a year too late.

    It's not a bad show just kind of dull, although we do end with the wonderful whistle-mashup from DJ Riko, which became a big favorite amongs listeners and staff. Franz Ferdinand — 'Take Me Out" 7. Chic — "Good Times" 8. Beastie Boys — "Triple Trouble" 9. ODB — "Bite" Kleptones mashup Scissor Sisters — "Take your Mama" Almost entirely a rearrangment of previous Sixx Mixx excerpts, let's just call this a Thanksgiving rerun.

    It does mark the first appearance of my Chic vs. Franz Ferdinand combo that would become a signature in my DJ sets, as well as a nice few seconds where Jane's Addiction layers over The Music remember them? Green Day — "Boulevard of Broken Dreams" 3. Chemical Brothers — "Block Rockin' Beats" 4. Blackstreet — "Blacksmiths" StvD mashup 6.

    Stereoasis — "Superconnected" Party Ben mashup 7. Gary Glitter — "Rock 'n' Roll Part 2" 9. The Timelords — "Doctorin the Tardis" Norman Greenbaum — "Spirit in the Sky" Soft Cell — "Tainted Love" A bit too ambitious, this Mixx, which sticks, admirably, almost entirely to rock 'n' roll, but suffers a bit from a few awkward segues and a kind of too-shrill audio quality. Ol' Dirty Bastard had passed away that week and in tribute I did the opposite of what I'd been doing with Lyrics Born til that point: I've made my share of that style of mashup, for sure, and they can be tons of fun, but they're something a bit lazy about them, production-wise and conceptually.

    I can't say enough about "Come Closer. Later in the show we have an amusing triple-time section that foreshadows what would be one of my most successful tracks, "Dr. Who On Holiday," but the sooner we forget my Cure vs. Faint disaster, the better. Anyway, points for difficulty here, but deductions for stumbles.

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    While this Mixx starts off somewhat ploddingly with far too much of the seemed-exciting-at-the-time Jacknife Lee mix of "Vertigo," once that's out of the way, it becomes a surprisingly nimble and energetic episode, with some clever linking up of excellent and funny tracks by some real awesome producers, as well as a fun rock 'n' roll theme. Great to hear Bowie in there as well. I loved the Sixx Mixx when it did this job, i.

    If it wasn't for a few bum sections from myself and the endless Vertigo mix at the beginning, this might rival 49 as a Great Episode, but still, not bad. When will I learn: This is just bad, an attempt to force together a bunch of bands playing LIVE 's winter concert, and yes sure I deserve points for being a Team Player and all that but oof, let's never speak of it again.

    Nectarios - "Phoenix" Party Ben mix Bush Party Ben version While the mixing is quick, dirty, and often nonexistent, and some of the tracks haven't exactly stood the test of time "Mosh" doesn't really get a lot of airplay these days , there was something that felt very powerful about this episode at the time, such an agonizing moment in American history.

    Quite a few people told me they stopped what they were doing to listen, and that there was something about the progression from each track to the next that sort of told a story. I'm not sure about that last part--as usual with the Sixx Mixx I was just trying to get all the stuff to fit together--but maybe unintentionally there turned out to be some sort of progression?

    Either way, "themed" Sixx Mixxez, looking back, are often not my favorites because the musical choices were being made for extra-musical reasons. But this one felt necessary, like a cry of anguished protest, and seemed to connect with listeners, expressing something in the collective zeitgeist. It's maybe not the most musically ground-breaking, but to my mind, it's one of the show's proudest moments.

    It also does kind of amaze me that it played on a major commercial radio station at 6: Way Out West vs. It's funny that my impression, looking back, at this period of the Sixx Mixx is that it was reaching a higher level of creative fruitfulness, not only in its presentation of preexisting tracks but in the tendency of my own productions for the show to become popular on their own. However at the time, of course, I was deeply self-critical, enough so that I thought this episode was an example of the show being "in a rut.

    But there are a couple nice moments. It's the debut of the fully-fleshed-out version of the Eminem vs. Stereo MCs track that I always kind of liked. The nearly unnoticeable mix into Audioslave is pretty cool, and the fact that the entire first 10 minutes of the show is all in the same key is kind of impressive.

    Overall not really a cohesive show but hey, let's give it a break. Bush Party Ben version 8. Not a perfectly executed show by any means and a few too many repeats, but there's a tonal consistency to the episode that I find intriguing, from the driving beat of "Sunday Bloody Sunday" to Zebra's pounding "Anarchy" rework. I also really like the remix-remix I did of "Mass Destruction;" the Tom Middleton version of the song had just come out and I really liked it, so I did another version of my George W.

    Bush thing over the top, this time focusing on his supremely irritating repetition of the "hard work" trope which just about made my head explode back in The Fatboy beat over Slow Hands doesn't really work, and, in the interest of complete historical accuracy, there was no "Mr. Brightside" acapella available at the time, so that vocal is in fact me singing.

    While there was some precedent in singing in your mashup as Zebra had done some of the vocal work in his "Take Me Out Saturday Night" track, my singing is actually quite terrible and embarrasses me now but I really wanted to make that mashup. Anyway, the odd episode that works better considered as a whole than examined minute-by-minute. Well, here it is: By now I've told the story a thousand times: I had the idea for the mashup about an hour before showtime on Friday afternoon, and was desperate to use Aerosmith's "Dream On" at the end, but it was nowhere to be found.

    This was , remember, and we didn't have access to everything in the world all the time. There wasn't even YouTube yet. The song was inexplicably not even on iTunes then, and none of our sister stations had it in their libraries, and time was running out, when suddenly I remembered Eminem had sampled "Dream On" in "Sing For the Moment ," which we did have in the studio, so kaboom, Eminem saves the day. Of course at this point I hadn't come up with the name for it, so it's indicated in my original tracklisting just by the original songs.

    As the show had been going on for over a year at this point, I would still get some high-fives as I exited the studio at 6: However, I will honestly never forget the atmosphere after this episode ended. This may sound like hyperbole, but I remember a sort of hush over the office, and a few of my coworkers sort of emerged from their rooms with a dumbfounded expression, saying, "What I'm pretty sure Adrian from Bootie told me he started working on the next club flyer, marrying Billie Joe and Noel Gallagher's faces, that evening.

    The reaction was immediate and shocking and unlike anything I had experienced with the show until that point. Of course, the places "Boulevard" ended up were destined to continue to shock me for about another two years. The rest of the episode is actually pretty good as well, things kick off with what was the debut of a new Eminem song that turned out to be a bit of a dud but I still kind of enjoy its bonkers lyrics num num num, touch my body and we get a hint of my future Stereo MCs mashup of the track.

    The full Blursabian track makes its debut and there's the first play of a "7 Nation Army" mix that isn't Slide's, an awesome blend of the White Stripes and Alter Ego's "Rocker. And of course there is no better introduction to the "Boulevard" debut than the enormous climactic moment of the awesomely silly William Shatner cover of "Common People.

    A pretty standard Mixx here, bracketed by two brilliant politically-themed collages that hint at the Election Special to come. It seemed like everybody was jumping on the "make something out of George W Bush's gut-wrenchingly moronic and horrifically fascistic speeches" in those days, with the election approaching. While my Bushy mix of Faithless' "Mass Destruction" layered sections of his speech over the track's propulsive beat, Shadow goes for a staccato barrage of single words and phrases, "nuke-you-lar" most prominently.

    And then we come to a producer who was light years ahead of his time, a guy called RX, who did the painstaking work of arranging W's words into an actual song, with the product both hilarious and haunting. It's a trope that still goes viral today--see the recent Jimmy Fallon-presented clips of Obama and Brian Williams chopped up to sing various popular numbers--but this was one of the first times I'd heard it done so effectively, and I'm guessing Mr.

    RX didn't have the searchable trove of video clips that NBC producers have. RX if you're out there, let me know what you're up to! Another special edition that was probably more entertaining in context, that context being now forgotten--I'm assuming some sort of Beastie Boys live show in the Bay Area or something? In any event, it turns out my limit of Beastie Boys was remarkably low, since there are only three Beastie tracks here.

    But they're all good ones: My reedit of Bigbadbaz's version of "Stacy's Mom" is fun. Overall I would say despire a lot of same-old same-old content, it's a strong episode. Freeland - We Want Your Soul 2. Nirvana - Smells Like Freeland 3. Freeform Five - Strangest Things 4. White Stripes - 7 Nation Freeland 5. The second guest-produced Sixx Mixx came from a producer with whom I always felt a lot in common, except of course he's awesome and successful and has way better hair see picture above from Coachella I had always been a big breaks fan and loved Mr.

    Freeland's work and his Marine Parade label , but then he started making tracks that seemed tailor made for the Sixx Mixx. His rework of "Smells Like Teen Spirit" is a true masterpiece and may, after this little Sixx Mixx re-examination project is done, turn out to be the most played track on the show. His original track "We Want Your Soul" went into regular rotation on LIVE in and became a huge hit for us, expressing the political disenchantment that was perhaps more evident in San Francisco than anywhere else in the country.

    So when I learned he'd be coming to town for a DJ gig it was a no brainer to ask him to do a guest mix. Perhaps unsurprisingly, however, there was a bit of chaos. His flight was delayed and I wasn't even sure he was going to make it to the station in time, so I grabbed an old Mixx and was ready to roll that instead, when at about 5: Of course he wasn't even finished with the set, so we stuck him in our conference room and I waited, biting my nails. I'm not exaggerating to say that he finished the Mixx and burned the CD with seconds to spare, and we ran into the studio and hit "play.

    If there's anybody out there who might have recorded it, let me know. E40 And Casual 6. I'm guessing the Cure was playing somewhere that night, so I slapped some Cure stuff on the beginning and end of old show excerpts. The title references that back in like I was a little intern for LIVE and the Cure were playing our big summer concert, and I was assigned as their designated van driver for the weekend. They were total lunatics and always late for everything, and they almost missed the entire show because they made me take them to Fisherman's Wharf so they could buy some funny jester hats they had seen somebody wearing the day before.

    Robert Smith was very nice about it all though. A bit unfocused but some interesting moments here. Super awesome remix of Air here as well. All in all not bad. Unknown — Unknown From Radio Soundhog 4 5. You know, you win some, you lose some, and nowhere is that more apparent than in the world of Songs or Artists I Championed On the Sixx Mixx.

    Streets, Lyrics Born, The Rapture? Well, to paraphrase "Mean Girls": I did like FakeID's aka Lionel Vinyl funky remix, but boy, with that and Somebody Told Me taking up the first 10 minutes of the show, it's all a bit much. Although whatever the big scronky breakbeat track is which I still don't know--anyone? Also, in embarrassing Sixx Mixx Secrets, that's me singing the Incubus vocal over Devo, since there was no acapella available. Things get a little wacky wackier after that, with the loud and silly Fondue Meltdown "Satisfaction" mix, another iteration of my Faithless thing, and the pretty unlistenable cover of "Take Me Out" by the Scissor Sisters.

    A note about the title: Rasmus - In the Shadows 2. Modest Mouse - Float On 3. Nina Sky - Move Ya Body 5. Tiga - Hot in Herre Acapella 6. Blur - Song 2 7. EMF — Unbelievable 9. Beyonce - Work It Out Acapella Nirvana - Smells Like Teen Spirit Michael Jackson - Billie Jean Acapella Franz Ferdinand - Take Me Out Beastie Boys - Triple Trouble Outkast - Roses Acapella Selecter - On My Radio Avril Lavigne - Skater Boi Acapella TLC - Unpretty Acapella Wham - I'm Your Man Emotions - Best of Your Love While it took me a few episodes to hone in on the right style and sound, after ish episodes I really felt like the Sixx Mixx was a very specific sort of thing.

    It had to be somewhat friendly to an Alternative Radio crowd Foo Fighters! White Stripes but also buck that genre in an amusing way, and also nod to the uniqueness of LIVE and the Bay Area, and do it all in a half-hour set that a 6pm audience would find palatable. So I was very hesitant to consider offering the entire show to a guest producer. All the better then that the first guest mix was by the brilliant McSleazy. The cheeky Scot had already produced a slew of tracks that were exactly in the Sixx Mixx wheelhouse, especially the seminal mashup masterpiece "Smells Like Billie Jean.

    I can't remember exactly why--maybe I'd already started next week's episode or something?