TRAXTION @ The Castle
Last Thursday Night of the month at The Castle, 44 Commercial Rd, Aldgate, London E1 1LN, a 3-min walk from the Whitechapel Gallery. Bar open till 1.30 am Free Entry All Night. Sir Lord Comixx, Masterplan, DJ Nelson and Underground Ice will host this monthly event at London’s The Castle. Music on the night will include exclusive dubplates in UK Garage, House and Broken Beats. Fused with Afro House Cuban Jazz and 2-Step Garage the vibe is sure to make you dance and enjoy. Join us 28-04-22 Thursday Night 9-1. Bar open till 1.30am Full access to venue – Free Entry all night
Direct Drive Turntable System
Coreless Direct Drive Motor
Conventional analogue turntables have problems with degradation in sound quality caused by factors such as minute speed vibration during rotation and rotation irregularity called “cogging.” In the SL-1200G, the use of a newly developed coreless direct-drive motor with no iron core eliminates cogging. Also, the twin-rotor construction reduces the bearing load while maintaining high torque and also reduces minute vibration during rotation. These factors enable reproduction of the warm, exquisitely detailed sound etched on analogue records.
High-precision Motor Control Technology
The application of motor control technology developed for Blu-ray devices and switching the drive mode depending on the operational status of the motor achieve a high-starting torque and high-speed stability.
Three-layered Turntable Platter
The turntable has a three-layered construction with a rigidly combined brass and aluminium die-cast platter. With a deadening rubber covering its entire rear surface to eliminate unnecessary resonance, thereby achieving high rigidity and vibration damping. This delivers smooth rotational stability and inertial mass surpassing the SP-10MK2, the direct-drive turntable standard used by broadcast stations worldwide, as well as having more than twice the inertial mass of the SL-1200MK5.
High-level Balance Adjustment
When the weight distribution of the turntable is uneven, excess vibration or noise occurs during rotation, which causes degradation in sound quality. Therefore, the balance of the turntable is adjusted at the factory by using specialized high-precision balance adjustment equipment for each and every item after the turntable is assembled. Turntables that have undergone adjustment are labelled with a sticker reading “BALANCED” to indicate that adjustment has been done.
“BALANCED” sticker indicating balance adjustment completed
Exhaustive measurement performed to examine whether the surface deflection of the platter is within limits
The tonearm employs lightweight magnesium which has a high damping effect, with cold drawing improving the characteristics of the material and achieving the high-precision required. In addition, high initial-motion sensitivity is attained by employing the traditional Technics gimbal suspension construction with horizontal rotation axis and the vertical rotation axis intersecting at a single central point, as well as high-precision bearings using a cut-processed housing.
Supplied auxiliary weights support a wide variety of cartridges
Four-layered Cabinet Construction
A hairline-processed, 10-mm-thick top panel of immaculate aluminium has been added to the previous three-layered construction of aluminium die-cast, BMC, and heavyweight-class rubber on the SL-1200MK5. This four-layered construction combines high rigidity with a high-quality finish and feel.
The use of brass-milled, gold-plated phono terminals and ground terminals prevent degradation in sound quality while enabling the easy attaching and detaching of cables. Also the use of metal shielding construction inside the case reduces the effects of external noise.
Brass-milled PHONO Output Terminals
AC Input Terminals (Detectable Input)
Direct Drive Turntable System
Direct Drive Manual Turntable
33-1/3, 45 and 78 rpm
±8 %, ±16 %
0.7 s. from Standstill to 33-1/3 rpm
Wow And Flutter
0.025 % W.R.M.S. (JIS C5521)
78 dB (IEC 98A weighted)
Brass and aluminium die-cast combined
Weight: Approx. 3.6 kg (including a rubber mat)
Universal Static Balance
Tracking Error Angle
Within 2° 32′(at the outer groove of 30 cm (12″”) record)
Within 0° 32′(at the inner groove of 30 cm (12″”) record) Offset Angle 22° Arm-height Adjustment Range 0 – 6 mm Stylus Pressure Adjustment Range 0 – 4 g (direct reading) Head Shell Weight Approx. 7.6 g Applicable Cartridge Weight Range (Without the auxiliary weight)
5.6 to 12.0 g
14.3 to 20.7 g (including the head shell)
(With small auxiliary weight)
10.0 to 16.4 g
18.7 to 25.1 g (including the head shell)
(With large auxiliary weight)
14.3 to 19.8 g
23.0 to 28.5 g (including headshell) Cartridge Mounting Dimension JIS 12.7 mm Interval Head Shell Terminal Lug 1.2 mm φ 4-pin Terminal Lug
Audio Output PHONO (Pin Jack), EARTH TERMINAL
Power Supply AC 110 – 240 V, 50 / 60 Hz Power Consumption 14 W Approx. 0.2 W (standby) Dimensions (W x H x D) 453 x 173 x 372 mm Weight Approx. 18 kg Accessories Turntable, Turntable Mat, Dust Cover, EP Record Adaptor, Balace Weight, Auxiliary Weight Small, Auxiliary Weight Big, Head Shell, Overhang Gauge, Screw Set for Cartridge, PHONO Cable, PHONO Earth Lead, AC Mains Lead, Screw Set for Turntable, Owner’s Manual
Ballroom Glitz Vjuan Allure
Performers battled, catwalked, and vogued in a historic ball held in April at the George Peabody Library, a grand venue for an event that honored the nearly century-old tradition of the ballroom community as a countercultural provocation of fashion, dance, performance, and politics
By Bret McCabe / Published Oct 14
The gown designed and made by the House of Revlon looks like something transported from both the future and the past. Pages from books are layered onto a tiered hoop skirt, cinched at the waist by a bodice of yellow pencils. More book pages form a ruffled V-neckline and cascade down into billowing pagoda sleeves. When strutted up and down a catwalk, it elegantly shimmies and cuts the kind of stunning silhouette that Jean Paul Gaultier would covet.
The House of Revlon was one of many families from the ballroom community—a nearly century-old countercultural provocation of fashion, dance, performance, and politics created by LGBTQ people of color in New York City—that participated in a ball held at the George Peabody Library in April. Performers from up and down the East Coast came to Baltimore to compete in categories designed specifically for the event. Icon Jack Mizrahi, a New York-based producer and ballroom historian, and Baltimore’s Trebra Blahnik served as the fast-talking, shade-throwing masters of ceremonies. DJ Vjuan Allure St. Laurent filled the night with body moving sounds. The result was an extravagantly engaging evening, and a 10-minute documentary featurette about the ball that debuted online in late September.
The ball and documentary are but two outcomes of the ongoing Peabody Ballroom Experience, a collaboration between the Peabody Library and Baltimore’s ballroom community. Developed by Joseph Plaster, curator in public humanities for the Sheridan Libraries and an assistant research scholar at the Alexander Grass Humanities Institute, the Peabody Ballroom Experience has included vogue dance workshops for Peabody students, film screenings, and an oral history project with members of the local ballroom community. The project and Plaster’s position are funded by a grant from the Andrew W. Mellon Foundation.
Plaster moved to Baltimore in 2018 specifically to conduct research using the collections housed in the university’s museums and libraries and interpret them in ways that bring to light the histories of marginalized communities, he says.
“I decided to partner with artists in the ballroom community to interpret the Peabody Library collections. It seemed like an incongruous match at first,” he says. “Most of the library books were acquired by Baltimore’s white male elite in the late 1800s and reflect their interests and prejudices. But one of the most powerful things about ballroom culture is its ability to adopt elements of mainstream culture—even those elements that are built on unjust privilege—and reinterpret them as something beautiful and life-affirming for the queer people of color who make up the community.”
The Peabody Ballroom Experience is an innovative and intimate approach to creating a dialogue between an anchor institution such as Johns Hopkins and a local creative population that has existed mostly below mainstream culture’s radar. As Plaster notes in his essay for the Radical History Review‘s blog, titled Black Queer Performance in Baltimore’s “Cathedral of Books”: the Peabody Ballroom Experience envisioned an “exchange of knowledge between Johns Hopkins and Baltimore’s ballroom community, bringing together faculty, students, and ballroom leaders as partners in education.” The approach, he adds, recognizes “performance as a repository for history and knowledge, expanding what ‘public history’ can look and feel like.”
It’s a process that involves patient, sometimes difficult conversations. Plaster started the project with a few members of the ballroom community, who invited others to join.
“When I came to my first meeting, there were no black trans women—and they typically are who’s in the ballroom scene in Baltimore and who actually started ballroom,” says Londyn Smith de Richelieu, a member of the advisory board that guides the project’s collaborations and events. Smith de Richelieu is an activist who works for BeSure Baltimore, a program operated by the Johns Hopkins Bloomberg School of Public Health and the Baltimore Department of Health and Mental Hygiene to guide HIV prevention, counseling, and testing services in the city. And she wanted to make sure black trans voices were included in the project. “I found that problematic and I mentioned it,” she says. “And I stayed, in part, because I realized that my voice as a part of that community would be imperative to the success of this project.”
Smith De Richelieu also works to raise awareness about not only who gets to speak for ballroom culture, but who gains from its mainstream monetization. As ballroom has gradually slipped into the mainstream thanks in part to Jennie Livingston’s cult 1990 film Paris is Burning, Madonna’s 1990 song and video “Vogue,” and, more recently, FX’s gripping TV drama Pose, ballroom performers are transforming from subjects to muses, and more recently, to creative producers. As Mizrahi, an on-set Pose consultant, told Billboard magazine in 2018: “When I first heard about the show, I thought, ‘Somebody has to call me.’ Not to be cocky, but if you’re having a conversation about ballroom, for the last 25 years I’ve been the most involved person pushing forward for the community.”
Image caption: A dancer performs on the catwalk at the Peabody Ballroom Experience
Image credit: Gerard Gaskin
“Ballroom is having a mainstream moment,” Plaster says, noting other cultural touchstones such as the Viceland show My House, and the first vogue battle at the Metropolitan Museum of Art, which took place in June. “One of the dangers of mainstreaming is that outsiders can co-opt and appropriate the culture, often for their own financial gain. One of the first things I did when I launched the project was create an advisory group of ballroom leaders to organize an event that was by ballroom, for ballroom.”
The Peabody Ballroom Experience advisory board includes people spanning the Johns Hopkins and ballroom communities, including Plaster; Smith de Richelieu; Iconic Sebastian Escada; Legendary Mother Marco Blahnik, of the House of Manolo Blahnik; Legendary Enrique St. Laurent; Father Keith Ebony Holt, of the House of Ebony; Gabrielle Dean, curator of rare books and manuscripts at Johns Hopkins; Paul Espinosa, curator of the George Peabody Library; MICA curator George Ciscle; and Madison Moore, an assistant professor at Virginia Commonwealth University. In consultation with the board, Plaster reached out to local vogue dancer Marquis Revlon to lead the vogue workshops with Peabody dance students and to photographer Gerard Gaskin, who shot the photo book Legendary: Inside the House Ballroom Scene, to document the ball itself. He then reached out to film students in the Johns Hopkins MA in Film and Media program to work on the documentary.
/ The Johns Hopkins News-Letter
/ Red Bull Music Academy
/ The New York Times
The board also consulted the archives of the George Peabody Library to brainstorm competition categories for the ball, impressively combining themes from great books with ballroom’s bottomless well of creativity. One category, called “Don’t Judge a Book by its Cover,” was inspired by the combination of the artistry of fore-edge books and the popular ballroom category called Face. “Paul [Espinosa] showed me one of the fore-edge books and it looked like a regular book,” performer Keith Ebony says. “And when he pressed the pages together it became a beautiful illustration. And I said, That’s like Face—you become completely concealed. No one sees the beauty that you’re hiding underneath. And then you take off the veil and it’s a beautiful masterpiece, just like the book.”
Image credit: Gerard Gaskin
Ebony is a veteran in Baltimore’s ballroom community, and has organized large ballroom events at the Smithsonian. He’s also organized events that combine ballroom with public outreach because he believes the art form serves a social role.
“Honestly, I was so afraid of ballroom at first,” Ebony says. “It scared me because I didn’t want people to know I was gay. But I had a lot of friends who were involved, and then I met my parents, and the rest is history. Ballroom definitely helped me to accept myself and my sexuality, I will say that.” “It was monumental for us to be in that space—to have black and brown people in this space, and black and brown people teaching voguing to Peabody students and communities who didn’t know about ballroom was historic.” Londyn Smith de Richelieu
The Peabody Ballroom Experience packed about 350 people into the Peabody library for a few hours of catwalking, vogueing, arm control, hand performance, and dips, where a performer controls a backward fall to the ground with a single bent leg. It’s a visually spectacular, anatomy-defying move, and audience members cheered those who dared it by raising a hand into the air and bringing in down in time with the dip itself. Contestants in the 12 categories drew their wardrobe and movement inspirations from the library holdings, such as the opulent imagery in an illustrated 1828 copy of Portraits Of Illustrious Personages Of The Court Of Henry VIII or the motions captured by photographer Edweard Muybridge in his 1887 book Animal Locomotion. Map imagery was turned into bodysuits; books into towering headpieces. And an array of devilish costumes and acrobatic movements competed in the final category, “Battle of Heaven and Hell,” inspired by John Milton’s epic poem, Paradise Lost.
Plaster recently started planning for the second ball, scheduled for April 2020. The ballroom community is already looking forward to the next one.
“After the event, that night people were telling me, ‘I can’t wait for the next one,'” Ebony says with a laugh. “And I’m like, ‘We just finished this one.'”
The event was more than just an opportunity for the Baltimore ballroom community to partner with America’s first research university—it was a rare chance for a marginalized community to occupy a grand, historic site in the city. In recent years a number of clubs and venues that used to host local balls have closed or been displaced, and ball organizers have sought other venues further out from the city center. And place has been an important factor since the art form’s beginnings.
“When people think about ballroom, New York City always overshadows everything,” Ebony continues. “The beautiful thing about this experience is that you have another scene about three and a half hours from New York that is thriving, that has its history, its own legends, its own icons, its own venues. New York is of course the mecca of the ballroom scene, but it is good to know that other places around the country are doing it, too. Ballroom started out as an underground community, and the fact that we are in places like Peabody means our art form is not hidden anymore.”
Adds Smith de Richelieu: “It was monumental for us to be in that space—to have black and brown people in this space, and black and brown people teaching voguing to Peabody students and communities who didn’t know about ballroom was historic.”
The Martinez Brothers Fabric presents includes Sir Lord Comixx
The Martinez Brothers will mix the next instalment of fabric presents.
Following Bonobo‘s and Kölsch‘s entries in the recently revamped series, the New York duo’s mix spans 23 tracks—including three exclusive cuts by the duo—over 75 minutes. Louie Vega, Kai Alce, Funky People, Varhat,Sangre Voss and more feature on the tracklist.
The mix is out on September 27th via fabric’s in-house label. Listen to clips on fabric’s website.
In July, The Martinez Brothers released a mixtape of edits called Space Jams Vol. 1.
01. Tom Flynn – The Future feat. Mjojo & Bongani
02. Varhat – Chhulub (Cabanne Remix)
03. Frak – Bitter Drop
04. Blaze feat. Piano Man – #6 Hubert St (Klubhead Style)
05. Mahony & Floog – Nu Mai
06. The Martinez Brothers – Jam Joint
07. Funky People – Funky People feat. Cassio Ware (Klubhead Vocal)
08. Sangre Voss – One Bad Mango
09. The Bayara Citizens – Mafungo (Joe’s Forest Version)
10. Roots Orchestra – Kalabuta
11. Kai Alce – Power Thru Pt 3 feat. Azulu Phantom (Don’t Turn On The Lights) (Martinez Brothers Edit)
12. Big Strick – Spontaneous Combustion
13. Glen Lewis – Life Everlasting feat. Mjojo & Bongani (Dennis Ferrer’s Passion Of C Dub)
14. Love Letters – Ducue (Xtended Dick Dub)
15. Dan Curtin – Echozeichen
16. Brinton Mckay – Real Cool (Abe Duque Remix)
17. The Martinez Brothers – Mistakes
18. Trevor Rockcliffe – Visions Of You feat. Blake Baxter (Carl Cox Remix)
19. Paul Johnson – House Illusion
20. Party Crashers – Come And Get It
21. Sir Lord Commix – Chicago Jazz
22. K. Alexi Shelby – Spanish Fly
23. Louie Vega & The Martinez Brothers – Let It Go (TMB Alternate Version)
fabric will release fabric presents The Martinez Brothers on September 27th, 2019.
Radio Slave & Patrick Mason in The Lab LDN MixMag
The pair first met inside Panorama Bar, and since 2018 have been collaborating on weighty sets and productions that ignite dancefloors as SRVD.
Three releases have arrived via Rekids, merging Patrick Mason’s club kid energy with Radio Slave’s floor-focused expertise into hot ‘n’ heavy bangers. Standout sets at the likes of Pacha’s Transmoderna, Pornceptual and the beloved Berlin spot where they met have further marked out SRVD as a powerful force in clubland.
Sir Lord Comixx joins Radio Slave as special guest.
SRVD play Afterlife at Printworks on November 30
Berlin Techno Essentials, Vol. 03
Look out for Sir Lord Comixx – String Theory out NOW on Berlin Techno Essentials Vol 3
Tracks and remixes from DJ Imperio, Denis Dezuz, Alexander Iceman, John Wolf, ONEDEFINED, Vidal – UK, Robbie Pope, Sir Lord Comixx, Aratzh, Stanny Abram, DJ Deep Noise, Keep This, Thalanx, S-Pot, Jul’s, Maxdal, Jeneral Kai, Dist, Cera Alba, Sebastian Eric, Rafaloo, Nebolusa Live Project, Mathew Safari, Sonic Wolf, Scum, Daniel Harris, DiKay, Fabrizio & Baqa
Messin’ Around at Olbys
Not Long now! JazzCotech & Alfred Olby presents: Messin’ Around at Olbys Saturday 9th December! This is our pre-Christmas Special, with a first ever appearance in Kent of Colin Parnell & Bülent Boo Mehmet, the original Jazzi Funk DJs from Horseshoe and Electric Ballroom alongside Host DJ Perry Louis. You know this will be special so we hope you can join us for a night of good music, a boogie and a drink or three. 8pm – 2am and it’s all FREE!
Big Respect – the JazzCotech Crew.
Crystal Palace Overground Festival
Crystal Palace Overground Festival is feeling excited.
We’re kicking off the countdown to Christmas on 2 December at a banging festival fundraiser with Colin Dale, DJ Stretch, Phil De Mont (Mo-City) & Andrew Nicholls (Lovebeat) at Anerley Town Hall! Tickets just £12. And with proceeds going to keep the 2018 Festival accessible for all, you’ll be supporting us too! NO TICKETS ON THE DOOR due to licensing rules at the venue so book online now to avoid disappointment!
Mother Athena Khan Presents World AIDS Day Ball Pt3
Get Ready for The Annual world AIDS day’s ball is coming up more info to come
Over 2500 in cash Categories.
$20.00 all night
Doors Open at 9.
lss starts at 10
Commentator #1 Legendary Father Tarik St. Clair
Commentator #2 Snookie NYC
DJ of the Evening is Legendary VJUAN ALLURE
As Every year no matter what the category is calling for you must bring it with a Red Ribbon in honor of World Aids Day.
Best Dressed: For Years your Organization is known for throwing the best fundraising Gala, for HIV/AIDS Research, The night is Stunning everyone is Dress to Empress, this year you have been Asked to Host this Event what Does your Look Scream… 2 Trophies
MF/FF (don’t forget your Red Ribbon) $$150.00
Beginner’s Performance : Fresh And Clean tonight you are the new Girl on the block and Everyone Loves the Smell of fresh meat, tonight the look is on you but must scream Tasteful & Beginner (don’t forget your red ribbon) 1 Trophy $$50.00
Beginner’s runway The New Era: Every Year a New set of Indivuals are Born into Fashion tonight you have the Chance to Win a Spot working with some of the hottest Designers know to the Fashion World in a creative Effect show them why you deserve that spot.$$50.00
Male Figure realness :
$$350.00 last standing will Battle for the cash
School boy Tonight You are the Science Behind the Epidemic Bring it like a Lab Tech reach to Attack this Epidemic (props are a must)
Thug: Boys in the hood (not your Average Hood) Tonight you are the blackmarket Salesmen show me what it looks like to for Indivuals with no insurance to come and Purchase Black MArket Meds for this Epidemic. (dont forget your red ribbon in honor of world Aids day).
Pretty boy the Face Behind the Campaign tonight we want you to Recreate your Favorite HIV Prevention Campaign.
Executive: Tonight Gilead is Looking for its New Director of Community Engagement/ Street Out Reach, Show us what your Proposal Looks Like that will land you the Position.
Transmen: Date night, Tonight you and your Significant other have been Invited to Attend a World Aids day Benefit dinner what will you wear.( Partner doesnt have to be with you)
Butch : Bring it in your Red fitted
Female Figure Realness Ladys In Red SPonsored By The Legendary Craig Khan
Drags Tonight out Put away the Sneaker’s and the Boots and bring out the Dresses and the Heel’s Look is on you but remember you are the lady in red $$150.00
Femqueen A Lady Never goes out on the town with out her Purse and Lipstick tonight in a look of your choice bring it with a Red Lip and your Red Accesories. $$150.00
Female Figure Performance The Snow Queen vs Ice Queen $$$200.00
Drags Tonight show us why you Performance will always leave the Scene Frozen.
Femqueen tonight you are the ice queen show us why your the coldest Queen of them All.
Butch Queen Vogue Fem : the Kings turned into Queens $$500.00
Last dramatic and Soft and Cunt will Battle for the Cash
Tonight you shall are Queens instead of Kings dont forget to wear your Crown.
Soft & Cunt : All Black Dont forget your Red Ribbon
Dramatics : black and Gold With your Red Ribbon
OTA Runway: The Once in a lifetime Achievement, tonight you have been selected to be featured in a Three Page Lay out in VOGUE Magazine, You must bring it in a eye Catching Effect and a OVA Head piece (but dont forget you Red Ribbon in Honor of worl Aids Day $$500.00
Last Runways Standing Will Battle for the cash
Realness W A Twist Part 1: Must get your Tens in a realness Categories First.
Part 2 for the last few years we have heard the twister are vouging like Vf tonight bring it like your favorite Vouge fem that inspires you . $$200.00
Old Way : Tonight bring it Like Old World (Baroque, Vintage,) $$50.00
Butch Queen Face : In Red and Black Look of your Choice Just remember Teeth Skin and Structure. $$$100.00
BIg Boys Performance: I can do that To For years Big Boys have been underestimated because of there size, tonight bring it in black and green, and dont forget your red Ribbon in honor of world Aids Day $$50.00
Ota New Face New Kid on the block tonight in all black with a touch of Red bring it with a creative pair of Sun Glasses made Using the red ribbion as Insparation.
Legendary Realness: you have Live through the Era of the HIV/AIDS Epidemic or you have live through the New Era of HIV/AIDS Tonight with a look of your own bring us a Picture of someone you know that Has Passed away from this Epidemic (dont forget your Red Ribbon) $200.00
Legendary Performance: Return of the Black Alley Cat Tonight in a all Black Cat suite show us why you are legened and dont for your Red Ribbon. $$200.00
OTA Sex Siren : The Ribbon Master
Tonight take the World Aids Day Ribbon and Make A Tasteful Yet Sexy Outfit out of it $$250.00 Last one’s standing will Battle for the cash
Women’s Performance: For the Last Few years Womens performance has been a hot Category to walk y’all have put a shame to some of the vogue categories out now, tonight in a effect of your choice but must have a red Ribbon show us You are the Master of your element tonight pick your element and storm the floor making the girls know it