In Jamaican reggae music, the Disc Jockey, called the "Selector", controls the tone, vibe, and energy of a dance or gathering. As Norman Stolzoff notes in "Wake the Town And Tell the People", The crowd's reception of the selector ultimately "determined the success or failure of a sound system's performance". A careful combination of songs in a playlist were often used to tell stories, set moods for the party goers, or to convey a particular theme. A selector had to know how to adapt the tempo, musical key, and tone of the songs he or she selected.

Selectors would often tease the crowd with small snippets from individual songs throughout an entire dance only to play the full song near the end of the dance. Another technique known as the "haul and pull up" called for the selector to interrupt a classic by restarting the song in the middle of playing by literally lifting up the needle and returning the beginning of the record. These skills are in addition to the precise timing required of a selector in switching records between songs or when the crowd disapproved of a particular song by verbally expressing their frustration.

The selector also interacted with and pleased the crowd throughout the entire dance by any means necessary. Over time, specific styles emerged amongst selectors that used witty voice overs and "toasts" to complement their performance. Count Matchukie( Winston Cooper), one of Jamaica's most famed selectors, would do dancing and talking over records with humor and wit. "Cliff" of Duke Reid's sound system focused so intensely on his task that he would turn his back to the crowd and would never speak at all as he played. Adding an even greater degree of complexity to the job of a selector, "toasting" required wit, humor, and a specific usage of rhyme, timing, and rhythm. Nonetheless, in both the eras of sound system dances and in dancehall, the selector was often the greatest selling point of a specific dance, party or system.

At the moment the careers only just started, But remember the name it's gonna be big in the music industry.

Anyway here's a bit about myself: Music has always meant a lot to me, it's a way of expresses yourself. But it wasn't until i started to move with the Blackwax Crew and actually see The Teacher at work himself that i knew, that's what i wanna be doing.

So thanks to Ras Rueben's helping hand and the opportunity to play a little set at the Unification Dub Cup against King Earthquake and down The Jazz Cafe, Brighton and it gave me the confidence to play in front of such numbers of people.

Formally Known As : Invisible Duke & Soul Rebel

Now Known As : RAS Reuben, The Dub Teacher

Born In Barbados, Came To England In 1964, And Started
Playing Music in 1971, Specialising In Roots And Culture
Back In The Days, BlackWax Played :
Highway, Sir George, I Spy, King Tubby,
V Rocket, Jah Creator, Black Harmony,
Duke Vin, Sonic, Viking, Lord David,
Front Line & Many More...

Streatham native, Oneman, is one of those dubstep associated DJs whose profile and reputation has been written purely on the strength of his mixing and selection. Unlike a lot of his peers he doesn’t produce, yet he was the only pure 'DJ' to appear on Mary Anne Hobbs' Generation Bass special and he still regularly appear on the flyers of the scenes biggest nights   "I've never been one to make beats or chase down producers for dubs or just play tunes because they're new or unreleased or whatever, so many DJs are on that flex anyway," explains Oneman. "It's great because we need them DJs to push the scene forward and progress, but that's not my mission in this. I think it's just as important to have DJs that play old, shelved tunes as well alongside new stuff. I'm just on a party vibe, straight up." And you just can't argue with a good party.