Lawrence, Tim (2008) ‘Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology’, Journal of Popular Music Studies, 20(3), pp. 276-329.
Use this permanent URL when citing or linking to this resource in ROAR.
This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1
|Divisions:||Schools > Arts and Digital Industries, School of|
|Additional Information:||Citation: Lawrence, T. (2008) ‘Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology’ Journal of Popular Music Studies, 20 (3) 276 - 329.|
|Date Deposited:||20 Apr 2010 15:44|
|Last Modified:||27 Sep 2012 11:59|
|Depositing User:||Stephen Grace|