. . . . . "Toasting (rap in other parts of the Anglo Caribbean), or deejaying is the act of talking or chanting, usually in a monotone melody, over a rhythm or beat by a reggae deejay. It can either be improvised or pre-written. Toasting developed in the United States and carried its form to the music of Jamaica, such as ska, reggae, dancehall, and dub. It also exists in grime music and is traditionally in hip hop. Toasting is also often used in soca and bouyon music. The African American oral tradition of toasting, a mix of talking and chanting, influenced the development of MCing in US hip hop music and in Jamaican toasting. The combination of singing and toasting is known as singjaying. In the late 1950s in Jamaica, deejay toasting was [used] by Count Matchuki. He conceived the idea from listening to disc jockeys on American radio stations. He would do African American jive over the music while selecting and playing R&B music. Deejays like Count Machuki working for producers would play the latest hits on traveling sound systems at parties and add their toasts or vocals to the music. These toasts consisted of comedy, boastful commentaries, half-sung rhymes, rhythmic chants, squeals, screams and rhymed storytelling. Osbourne Ruddock (a.k.a. King Tubby) was a Jamaican sound recording engineer who created vocal-less rhythm backing tracks that were used by DJs doing toasting by creating one-off vinyl discs (also known as dub plates) of songs without the vocals and adding echo and sound effects. 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 in homage to U-Roy) and Dillinger, the latter known for his humorous toasting style. In the early 1970s Big Youth became popular. In the late 1970s, Trinity followed. The 1980s saw the first deejay toasting duo, Michigan & Smiley, and the development of toasting outside of Jamaica. In England, Pato Banton explored his Caribbean roots, humorous and political toasting while Ranking Roger of the Second Wave or Two-Tone ska revival band The Beat from the 1980s did Jamaican toasting over music that blended ska, pop, and some punk influences. Jamaican deejay toasting also influenced various types of dance music, such as jungle music and UK garage. Dancehall artists that have achieved pop hits with toasting-influenced vocals include Shabba Ranks, Shaggy, Lady Saw, Sean Paul, Terror Fabulous and Damian Marley."@en . . . . . . . . . . "Deejay (juga disingkat sebagai DJ) adalah pemusik reggae atau dancehall yang menyanyi dan melakukan diiringi musik yang disebut riddim (ritme). Deejay dalam konsep musik Jamaika berbeda dari disc jockey dari genre musik yang lain, misalnya disc jockey pada musik hip-hop yang hanya memilih dan memainkan musik. Deejay di Jamaika memegang mikropon untuk menyanyi dan toasting. Deejay musik dancehall/reggae yang memilih sendiri riddim untuk dimainkan disebut selector. Deejay yang lebih banyak bernyanyi sering disebut ."@in . . . . . . . "Deejay"@es . . . "52672"^^ . "Deejay (juga disingkat sebagai DJ) adalah pemusik reggae atau dancehall yang menyanyi dan melakukan diiringi musik yang disebut riddim (ritme). Deejay dalam konsep musik Jamaika berbeda dari disc jockey dari genre musik yang lain, misalnya disc jockey pada musik hip-hop yang hanya memilih dan memainkan musik. Deejay di Jamaika memegang mikropon untuk menyanyi dan toasting. Deejay musik dancehall/reggae yang memilih sendiri riddim untuk dimainkan disebut selector. Deejay yang lebih banyak bernyanyi sering disebut . Istilah deejay lahir sebagai hasil dari kebiasaan sejumlah selector dari tahun 1960-an dan 1970-an seperti atau yang melakukan toasting sewaktu memainkan \"\". Lagu yang disebut \"version\" adalah trek pengisi versi instrumental (vokal dihilangkan) dari lagu utama yang direkam sebagai di sisi-B sebuah piringan hitam. Biasanya \"version\" mudah dikenali dari suara drum dan bass yang menonjol. Sewaktu lagu version dari sebuah piringan hitam, deejay mendapat kesempatan untuk membuat lirik secara spontan, dan dinyanyikannya (disebut toasting) dengan diiringi musik instrumental (riddim) yang sedang diputar. Dalam sebuah pertunjukan sound system, deejay yang berperan sebagai selector memilih dan memainkan rekaman piringan hitam yang memiliki bass menonjol, memanipulasi kontrol volume dan tone atau menambah efek suara khusus seperti echo dan reverb untuk membuatnya dramatis. Deejay lainnya memegang mikropon, dan berada di atas panggung atau di tengah para penari, serta mencoba berdialog dengan kerumunan orang, sambil menyanyikan lirik dan umumnya membuat musik dari piringan hitam menjadi lebih hidup."@in . . "\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0"@ja . . . . "Toasting (rap in other parts of the Anglo Caribbean), or deejaying is the act of talking or chanting, usually in a monotone melody, over a rhythm or beat by a reggae deejay. It can either be improvised or pre-written. Osbourne Ruddock (a.k.a. King Tubby) was a Jamaican sound recording engineer who created vocal-less rhythm backing tracks that were used by DJs doing toasting by creating one-off vinyl discs (also known as dub plates) of songs without the vocals and adding echo and sound effects."@en . . . . . . . . "4392"^^ . "En m\u00FAsica jamaiquina un deejay (DJ) es un m\u00FAsico de reggae o dancehall que canta y practica toasting sobre un riddim o instrumental. Los deejays no deben confundirse con los DJs de otros g\u00E9neros musicales como el hip hop, donde el DJ es el encargado de seleccionar y mezclar la m\u00FAsica. En la m\u00FAsica jamaicana el selector de los riddims es llamado selector. Los deejays que adem\u00E1s de practicar toasting tambi\u00E9n cantan se suelen llamar singjays."@es . "1113662760"^^ . . . . "\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0\uFF08toasting\u3001\u795D\u676F\u3092\u4E0A\u3052\u308B\u3053\u3068\uFF09\u307E\u305F\u306F\u3001\u30C1\u30E3\u30C3\u30C6\u30A3\u30F3\u30B0\uFF08chatting\u3001\u304A\u3057\u3083\u3079\u308A\uFF09\u3001\u30C7\u30A3\u30FC\u30B8\u30A7\u30A4\u30F3\u30B0\uFF08DJing\u3001\u307E\u305F\u306Fdeejaying\uFF09\u3001\u30B9\u30AB\u30F3\u30AD\u30F3\u30B0\uFF08skanking\uFF09\u3068\u306F\u3001\u30EA\u30BA\u30E0\u3084\u30D3\u30FC\u30C8\u306B\u5408\u308F\u305B\u3066\u3057\u3083\u3079\u3063\u305F\u308A\u8A9E\u3063\u305F\u308A\u3059\u308B\u884C\u70BA\u3067\u3042\u308B\u3002\u6B4C\u8A5E\u306E\u5185\u5BB9\u306F\u4E8B\u524D\u306B\u66F8\u3044\u3066\u304A\u304F\u4E8B\u3082\u3042\u308C\u3070\u3001\u5373\u8208\u306E\u5834\u5408\u3082\u3042\u308B\u3002\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0\u306E\u6E90\u6D41\u306F\u3001\u30C9\u30E9\u30E0\u306E\u30D3\u30FC\u30C8\u306B\u4E57\u305B\u3066\u8A71\u3059\u30B0\u30EA\u30AA\u306E\u3088\u3046\u306A\u30A2\u30D5\u30EA\u30AB\u306E\u4F1D\u7D71\u306B\u3042\u308B\u3068\u8003\u3048\u3089\u308C\u3066\u304A\u308A\u3001\u30C0\u30F3\u30B9\u30DB\u30FC\u30EB\u30EC\u30B2\u30A8\u3001\u30EC\u30B2\u30A8\u3001\u30E9\u30AC\u30DE\u30D5\u30A3\u30F3\u3001\u30C0\u30D6\u306A\u3069\u306E\u97F3\u697D\u306B\u304A\u3044\u3066\u3082\u4F7F\u7528\u3055\u308C\u3066\u3044\u308B\u3002\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0\u306F\u30D2\u30C3\u30D7\u30DB\u30C3\u30D7\u306E\u767A\u5C55\u306B\u3082\u5F71\u97FF\u3092\u53CA\u307C\u3057\u305F\u3068\u8003\u3048\u3089\u308C\u3066\u3044\u308B\u3002"@ja . . . . . . . . . "Ein Deejay [\u02C8di\u02D0d\u0292e\u026A] ist in der jamaikanischen Soundsystem-Musik ein Sprechgesangsk\u00FCnstler, \u00E4hnlich dem Rapper in der Hip-Hop-Musik. Deejays unterlegen Reggae-Instrumentalst\u00FCcke (Riddims) mit Sprechgesang (Toasting). Der Begriff des jamaikanischen Deejays ist somit nicht identisch mit dem des DJs, also des Plattenauflegers. Diese Rolle \u00FCbernimmt in einem Soundsystem der Selector."@de . . . . . . . . "Ein Deejay [\u02C8di\u02D0d\u0292e\u026A] ist in der jamaikanischen Soundsystem-Musik ein Sprechgesangsk\u00FCnstler, \u00E4hnlich dem Rapper in der Hip-Hop-Musik. Deejays unterlegen Reggae-Instrumentalst\u00FCcke (Riddims) mit Sprechgesang (Toasting). Der Begriff des jamaikanischen Deejays ist somit nicht identisch mit dem des DJs, also des Plattenauflegers. Diese Rolle \u00FCbernimmt in einem Soundsystem der Selector."@de . "Toasting, conversar com o p\u00FAblico (rap em outras partes do Anglo Caribe) ou discotecar \u00E9 o ato de falar ou cantar, geralmente em uma instrumental em loop, sobre um ritmo ou batida de um DJ de reggae. Tradicionalmente, o m\u00E9todo de toasting originou-se dos griots das tradi\u00E7\u00F5es calipso e mento do Caribe. As letras podem ser improvisadas ou pr\u00E9-escritas. O toasting foi usado em v\u00E1rias tradi\u00E7\u00F5es africanas, como griots cantando sobre uma batida de tambor, bem como nas formas musicais dos Estados Unidos e da Jamaica, como ska, reggae, dancehall e dub; tamb\u00E9m existe no grime e no hip hop vindos do Reino Unido, que normalmente tem muita influ\u00EAncia caribenha. O toasting tamb\u00E9m \u00E9 frequentemente usado na m\u00FAsica soca e bouyon. A tradi\u00E7\u00E3o oral afro-americana de brindar, uma mistura de conversa e canto, influenciou o desenvolvimento do MCing na m\u00FAsica hip hop dos Estados Unidos. A combina\u00E7\u00E3o de canto e toasting \u00E9 conhecida como singjaying. No final dos anos 1950, o brinde de DJ foi desenvolvido pelo Conde Matchuki . Ele concebeu a ideia ouvindo disc-j\u00F3queis em esta\u00E7\u00F5es de r\u00E1dio americanas. Ele fazia jive afro-americano sobre a m\u00FAsica enquanto selecionava e tocava m\u00FAsica R&B. Deejays como Count Machuki trabalhando para produtores tocavam os \u00FAltimos sucessos em sound Systems itinerantes em festas e adicionavam seus toasting ou vocais \u00E0 m\u00FAsica. Esses toasting consistiam em com\u00E9dia, coment\u00E1rios arrogantes, rimas meio cantadas, cantos r\u00EDtmicos, guinchos, gritos e narra\u00E7\u00E3o de hist\u00F3rias rimadas. Osbourne Ruddock (a.k.a. King Tubby) foi um engenheiro de grava\u00E7\u00E3o de som jamaicano que criou faixas de acompanhamento de ritmo sem vocal que foram usadas por DJs fazendo toasting criando discos de vinil \u00FAnicos (tamb\u00E9m conhecidos como dubplates) de m\u00FAsicas sem os vocais e adicionando eco e efeitos sonoros. DJs de toasting do final dos anos 1960 inclu\u00EDam U-Roy e Dennis Alcapone, o \u00FAltimo conhecido por misturar conversas de g\u00E2ngster com humor em seus brindes. No in\u00EDcio dos anos 1970, DJs de brindes inclu\u00EDam I-Roy (seu apelido \u00E9 uma homenagem a U-Roy) e Dillinger, este \u00FAltimo conhecido por seu estilo de toasting bem-humorado. No in\u00EDcio dos anos 1970, a Big Youth tornou-se popular. No final dos anos 1970, Trinity o seguiu. A d\u00E9cada de 1980 viu a primeira dupla de DJs fazendo toasting, Michigan & Smiley, e o desenvolvimento do toasting fora da Jamaica. Na Inglaterra, Pato Banton explorou suas ra\u00EDzes caribenhas, brindes humor\u00EDsticos e pol\u00EDticos enquanto o Ranking Roger da Second Wave ou a banda de revival de ska Two-Tone The Beat da d\u00E9cada de 1980 brindava com m\u00FAsica que mesclava ska, pop e um pouco de punk influ\u00EAncias. A rima r\u00EDtmica dos vocais do brinde afro-americano influenciou o desenvolvimento do brinde na Jamaica e o desenvolvimento do estilo dancehall (por exemplo, o pioneiro do hip-hop e DJ expatriado jamaicano Kool Herc e Phife Dawg do A Tribe Called Quest ). O brinde de DJ jamaicano tamb\u00E9m influenciou v\u00E1rios tipos de dance music, como jungle music e UK garage . Artistas do dancehall que alcan\u00E7aram sucessos pop com vocais influenciados pelo brinde incluem Shabba Ranks, Shaggy, Lady Saw, Sean Paul, Terror Fabulous e Damian Marley ."@pt . "Deejay (Jama\u00EFque)"@fr . "Deejay"@de . . "\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0\uFF08toasting\u3001\u795D\u676F\u3092\u4E0A\u3052\u308B\u3053\u3068\uFF09\u307E\u305F\u306F\u3001\u30C1\u30E3\u30C3\u30C6\u30A3\u30F3\u30B0\uFF08chatting\u3001\u304A\u3057\u3083\u3079\u308A\uFF09\u3001\u30C7\u30A3\u30FC\u30B8\u30A7\u30A4\u30F3\u30B0\uFF08DJing\u3001\u307E\u305F\u306Fdeejaying\uFF09\u3001\u30B9\u30AB\u30F3\u30AD\u30F3\u30B0\uFF08skanking\uFF09\u3068\u306F\u3001\u30EA\u30BA\u30E0\u3084\u30D3\u30FC\u30C8\u306B\u5408\u308F\u305B\u3066\u3057\u3083\u3079\u3063\u305F\u308A\u8A9E\u3063\u305F\u308A\u3059\u308B\u884C\u70BA\u3067\u3042\u308B\u3002\u6B4C\u8A5E\u306E\u5185\u5BB9\u306F\u4E8B\u524D\u306B\u66F8\u3044\u3066\u304A\u304F\u4E8B\u3082\u3042\u308C\u3070\u3001\u5373\u8208\u306E\u5834\u5408\u3082\u3042\u308B\u3002\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0\u306E\u6E90\u6D41\u306F\u3001\u30C9\u30E9\u30E0\u306E\u30D3\u30FC\u30C8\u306B\u4E57\u305B\u3066\u8A71\u3059\u30B0\u30EA\u30AA\u306E\u3088\u3046\u306A\u30A2\u30D5\u30EA\u30AB\u306E\u4F1D\u7D71\u306B\u3042\u308B\u3068\u8003\u3048\u3089\u308C\u3066\u304A\u308A\u3001\u30C0\u30F3\u30B9\u30DB\u30FC\u30EB\u30EC\u30B2\u30A8\u3001\u30EC\u30B2\u30A8\u3001\u30E9\u30AC\u30DE\u30D5\u30A3\u30F3\u3001\u30C0\u30D6\u306A\u3069\u306E\u97F3\u697D\u306B\u304A\u3044\u3066\u3082\u4F7F\u7528\u3055\u308C\u3066\u3044\u308B\u3002\u30C8\u30FC\u30B9\u30C6\u30A3\u30F3\u30B0\u306F\u30D2\u30C3\u30D7\u30DB\u30C3\u30D7\u306E\u767A\u5C55\u306B\u3082\u5F71\u97FF\u3092\u53CA\u307C\u3057\u305F\u3068\u8003\u3048\u3089\u308C\u3066\u3044\u308B\u3002"@ja . "Toaster (m\u00FAsica jamaicana)"@pt . . . . . . "Le deejay, ou toaster, est un artiste vocal parlant ou chantant g\u00E9n\u00E9ralement de fa\u00E7on monotone sur un rythme ou un battement, que l'on rencontre particuli\u00E8rement en Jama\u00EFque. Les textes peuvent \u00EAtre \u00E9crits ou improvis\u00E9s et certains mots coup\u00E9s ou doubl\u00E9s dans les phrases afin de caler les phrases. Le toasting a \u00E9t\u00E9 utilis\u00E9 dans plusieurs traditions africaines, notamment par les griots. On peut dire que la coutume s'est export\u00E9e en Jama\u00EFque par l'ascendance africaine et musicalement par l'empreinte des rasta sur la musique jama\u00EFcaine. L'exercice de chant parl\u00E9 qu'est le deejaying a \u00E9norm\u00E9ment influenc\u00E9 le Hip-hop et donn\u00E9 le d\u00E9veloppement du MCing"@fr . "En m\u00FAsica jamaiquina un deejay (DJ) es un m\u00FAsico de reggae o dancehall que canta y practica toasting sobre un riddim o instrumental. Los deejays no deben confundirse con los DJs de otros g\u00E9neros musicales como el hip hop, donde el DJ es el encargado de seleccionar y mezclar la m\u00FAsica. En la m\u00FAsica jamaicana el selector de los riddims es llamado selector. Los deejays que adem\u00E1s de practicar toasting tambi\u00E9n cantan se suelen llamar singjays. El t\u00E9rmino deejay se origin\u00F3 a partir de la acci\u00F3n de algunos selectors de los a\u00F1os 1960 y 70 en Jamaica como o , que empezaron a cantar haciendo toasting sobre la versi\u00F3n instrumental de los temas que pon\u00EDan. Sobre la instrumental, que normalmente ocupaba la cara B del vinilo, el deejay lanzaba letras sobre la marcha. Muchos selectors se convirtieron mediante esta pr\u00E1ctica en deejays, como King Stur Gav, Josie Wales, Charlie Chaplin, y Tony Matterhorn."@es . . . . . . . "Toasting (Jamaican music)"@en . . . . . . . "Deejay"@in . . "Toasting, conversar com o p\u00FAblico (rap em outras partes do Anglo Caribe) ou discotecar \u00E9 o ato de falar ou cantar, geralmente em uma instrumental em loop, sobre um ritmo ou batida de um DJ de reggae. Tradicionalmente, o m\u00E9todo de toasting originou-se dos griots das tradi\u00E7\u00F5es calipso e mento do Caribe. As letras podem ser improvisadas ou pr\u00E9-escritas."@pt . . "Le deejay, ou toaster, est un artiste vocal parlant ou chantant g\u00E9n\u00E9ralement de fa\u00E7on monotone sur un rythme ou un battement, que l'on rencontre particuli\u00E8rement en Jama\u00EFque. Les textes peuvent \u00EAtre \u00E9crits ou improvis\u00E9s et certains mots coup\u00E9s ou doubl\u00E9s dans les phrases afin de caler les phrases. Le toasting a \u00E9t\u00E9 utilis\u00E9 dans plusieurs traditions africaines, notamment par les griots. On peut dire que la coutume s'est export\u00E9e en Jama\u00EFque par l'ascendance africaine et musicalement par l'empreinte des rasta sur la musique jama\u00EFcaine. L'exercice de chant parl\u00E9 qu'est le deejaying a \u00E9norm\u00E9ment influenc\u00E9 le Hip-hop et donn\u00E9 le d\u00E9veloppement du MCing"@fr . . . . . .