toasting

[Alexandra]

Βοήθεια, γνώστες της μουσικής. Υπάρχει κάποια ελληνική απόδοση γι' αυτόν τον όρο που θεωρείται ότι γέννησε το χιπ-χοπ;

Toasting, chatting, or deejaying is the act of talking or chanting, usually in a monotone melody, over a rhythm or beat by a deejay. Traditionally, the method of toasting originated in the Caribbean calypso and mento tradition, by the calypsonians, which had become popular in Jamaica. The lyrics can be either improvised or pre-written. Toasting has been used in various African traditions, such as griots chanting over a drum beat, as well as in Jamaican music forms, such as Ska, reggae, dancehall, and dub. Toasting's mix of talking and chanting may have influenced the development of MCing in US hip hop music. The combination of singing and toasting is known as singjaying.
http://en.wikipedia.org/wiki/Deejay_(Jamaican)

 

[daeman]

...
Δεν ξέρω αν έχει καθιερωθεί κάπως αλλιώς στον χώρο, αλλά για χάρη του θεατή θα το έλεγα παρλάτα.
Πριν φτάσουμε στα λόγια τα μπιτάτα, στης μουσικής τη στράτα, που τώρα λέν' ραπάτα.


Late 1960s toasting deejays included U-Roy 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 a homage to U-Roy) and Dillinger, the latter known for his humorous toasting style. In the late 1970s, Trinity became a popular toasting deejay.

"People, my name is U-Roy and I'm a toaster, I'm really happy to be that. The difference between a singer and a toaster is the toaster he talk, the singer sings, you know? Toasting started way back in the '60s, here in Jamaica. OK? I don't know specifically the time that rap started in the States. But I know that it's way after toasting was already being done here."

 

[daeman]

...
Daddy U-Roy & Papa Style @ Sunday Culture

U-Roy dubbing & Papa Style doing the blahblah.


And Dillinger babbling over New York. Hey, Jim!

 

[Alexandra]

To «μπλα-μπλα» μ' αρέσει πιο πολύ κι απ' την «παρλάτα».

 

[daeman]

...
Στην ουσία είναι συνοδεία της ηχογράφησης με όποιο τρόπο μπορεί ο κάθε ντιτζέι, και το πιο εύκολο είναι το μπλαμπλά.
Όπως βλέπεις και από τα δείγματα, το toasting, η με διάφορους τρόπους έκφραση ενθουσιασμού του ντιτζέι για το κομμάτι και ταυτόχρονα η προσπάθειά του να ξεσηκώσει τους ακροατές, ανακατεύεται με το singjaying, το τραγούδι μαζί με την ηχογράφηση (το ντουμπλάρισμα ορισμένων στίχων, δηλαδή dubbing, όπως και στο νταμπ που όμως είναι άλλη μουσική υποκατηγορία κι ας έχει ντουμπλάρισμα φωνητικών, τo οποίo dubbing δεν έχει σχέση με το dance dubbing, κι αυτό με τη σειρά του καμία σχέση με το dubstep). Με μια κουβέντα, μύλος.


about dj/toasting

Over a dub track, Jamaican rappers (called toasters) would chant lyrics of topical concerns; the DJ style began live at sound system dances, eventually leading to recordings of toasts on disc. U-Roy was the first to turn toasting into an art form. When he began working with Duke Reid in the early 70's, the DJ style exploded on the Jamaican music scene. Soon every producer scrambled to find a DJ to toast over their rhythms. In the mid-70's when roots reggae became the dominant style, Big Youth held sway as the mightiest DJ in the land. Although their popularity waned, DJ's remained a mainstay in reggae and an influence on the early formation of rap in America. When dancehall came along the DJ was returned to prominence as toasters like Yellowman and Charlie Chaplin became huge stars. Contemporary reggae and dancehall is somewhat dominated by DJ's like Shabba Ranks, Beenie Man, Bounty Killer and Lady Saw.

~ allmusic.com

Μ' αυτά και μ' εκείνα, φτάσαμε στο dub:

Osbourne Ruddock, also known as King Tubby, a sound engineer and disc cutter for producer Duke Reid, set up his own sound system, Home Hi-Fi, around 1968. U-Roy soon joined him, performing his number one set. Both Tubby and U-Roy were adventurous and the sound system soon acquired a reputation as among Kingston’s finest; from this developed the modern deejay style.

At this time Tubby worked as a disc cutter at Duke Reid’s studio and had access to Treasure Isle’s master tapes. Tubby cut discs from old rocksteady masters and used them in his sound system. He found that by dropping out the vocal track and remixing the backing tracks he could create new, or "dub," versions. Tubby encouraged U-Roy to take advantage of the space created by the absent vocal tracks with improvised vocals, providing doggerel verse and jive raps or "toasts" over the music.

In 1969 U-Roy toasted over a dub version of the Techniques’ "You Don’t Care" prepared by Tubby. It was an instant success with the dancehall crowd and became Home Town Hi-Fi’s signature tune. As Lloyd Bradley explains in his book This is Reggae Music: The Story of Jamaica’s Music, "Tubby and U-Roy between them had created a parity between the original material and what was being added. You couldn’t listen and say which was the more important as each aspect existed in its own right: the deejay version was now redefining rather than merely supplementing the original."
http://www.answers.com/topic/u-roy


U-Roy performs "Runaway Girl" over "You Don't Care" riddim and "Natty Rebel" over "Soul Rebel" riddim at a concert in Sav La Mar, Jamaica 1978

Dub is version of reggae sound without the vocal chant, for the deejay to chant over.


Τριβίδι: dubplate.

 

[nickel]

Θα προτείνω «ρυθμικός μονόλογος». Σε κάποια κείμενα δεν θα δίσταζα να το μεταγράψω: τοστάρισμα.

 

[AoratiMelani]

Φαντάζομαι πως το έχεις ήδη λύσει, αλλά εγώ αν είχα κάτι τέτοιο θα έρχινα την ερώτηση στο Music heaven ή κάποιον άλλο παρόμοιο χώρο (μπορεί και να το έκανες ήδη, δεν ξέρω). Καλές οι προτάσεις και οι ιδέες, αλλά το αν ήδη υπάρχει κάποια απόδοση - κουτσή στραβή, σωστή λάθος, δόκιμη αδόκιμη - εκεί θα ήταν πιο πιθανό να βρεις κάποιον που να το ξέρει.

 

[Alexandra]

Μπορώ να ρωτήσω, αλλά η εμπειρία μας μέχρι τώρα από όλους τους χώρους, αθλητικούς, μουσικούς κλπ., είναι ότι τα λένε όλα αμετάφραστα.