Crazy+Beatboxing

=__Beatboxing and Vocal Variations__=

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Borge's style ( from Wikipedia ):
Among Borge's other famous routines is the "Phonetic Punctuation" routine, in which he recites a story, with full [|punctuation] (comma, period, exclamation mark, etc.) as exaggerated onomatopoetic sounds. Another is his "Inflationary Language", where he incremented numbers embedded in words, whether they are visible or not ("once upon a time" becomes "twice upon a time", "wonderful" becomes "twoderful", "forehead" becomes "fivehead", "tennis" becomes "elevennis", "I ate a tenderloin with my fork" becomes "I nined an elevenderloin with my five'k" etc). Borge used physical and visual elements in his live and televised performances. He would play a strange-sounding piano tune from sheet music, looking increasingly confused; turning the sheet upside down, he would then play the actual tune, flashing a joyful smile of accomplishment to the audience (he had, at first, been literally playing the actual tune upside down). When his energetic playing of another song would cause him to fall off the piano bench, he would open the seat lid, take out the two ends of an automotive seatbelt, and buckle himself onto the bench, "for safety." Conducting an orchestra, he might stop and order a violinist who had played a sour note to get off the stage, then resume the performance and have the other members of the section move up to fill the empty seat while they were still playing. His musical sidekick in the 1950s, [|Leonid Hambro], was a well-known concert pianist. He also enjoyed interacting with the audience. Seeing an interested person in the front row, he would ask them, "Do you like good music?" or "Do you care for piano music?" After an affirmative answer, Borge would take a piece of sheet music from his piano and say, "Here is some", and hand it over. After the audience's laughter died down, he would say, "That'll be $1.95" (or whatever the current price might be). He would then ask whether the audience member could read music; if the member said yes, he would ask a higher price. If he got no response from the audience after a joke, he would often add "...when this ovation has died down, of course". The delayed punch line to handing the person the sheet music would come when he would reach the end of a number and begin playing the penultimate notes over and over, with a puzzled look. He would then go back to the person in the audience, retrieve the sheet music, tear off a piece of it, stick it on the piano, and play the last couple of notes from it. Making fun of modern theater, he would sometimes begin a performance by asking if there were any children in the audience. There always were, of course. He would then say, "We do have some children in here that means I can't do the second half in the nude. I'll wear the tie. The long one...The very long one, yes."[|[][|1][|]] In his stage shows in later years, he would include a segment with opera singer Marilyn Mulvey. She would try to sing an aria, and he would react and interrupt, with such antics as slipping off the bench when she would hit a high note. He would also remind her repeatedly not to rest her hand on the piano. After the routine, the spotlight would fall upon Mulvey and she would sing a serious number with Borge accompanying in the background.

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=__ History of beatboxing (from Wikipedia): __= 

__ Prehistory __
Vocal imitation of percussion sounds has existed for a very long time. One tradition is thought to have originated in [|India] several thousand years ago: the tradition of [|bol], and the Chinese developed [|Kouji], a type of vocal [|performing arts]. These had little relation with [|hip hop], however, and have no direct connection to modern Eastern Hip Hop. Some African traditions use performers' bodies (clapping, stomping) to make musical sounds to maintain a steady musical pace. They made sounds using their mouths by loudly breathing in and out, which is done in beatboxing today. 

__ Hip hop origins __
Beatboxing in hip hop originated in 1980s. Its early pioneers include [|Doug E. Fresh], [|Buffy] from the [|Fat Boys] & [|Wise (Stetsasonic)]. Credits of the three include Doug E. Fresh for being the self proclaimed first "human beatbox,"[|[3]], Buffy for helping perfecting the art & Wise for taking it to a level that inspired other individuals to want to be a human beatbox. Wise with his human turntable technique inspired a whole new fan base of human beatboxers. The term "beatboxing" is derived from the mimicry of the first generation of [|drum machines], then known as beatboxes. 

 Modern beatboxing
Beatboxing's current popularity is due in part to artists such as [|Rahzel], [|Kenny Muhammad], and [|Matisyahu], who have promoted the art form across the world. [|[4]][|Humanbeatbox.com] and YouTube also contribute substantially toward raising the profile of beatboxing. Websites such as In 2005 the world championship of beatboxing was organised in [|Leipzig, Germany]. The participants came from all over the world, and included Tom Thumb, and [|Joel Turner] (Australia), White Noise (Ireland), Roxorloops (Belgium), [|Poizunus] (Canada), Faith SFX (UK). After several heats of beatbox battles, the final between Roxorloops (Belgium) and Joel Turner (Australia) was decided. The five judges had a difficult time picking a winner and called for an extra round after which Joel Turner won the world championship. 

 Notation
As with other musical disciplines, some form of [|musical notation] or [|transcription] may sometimes be useful in order to describe beatbox patterns or performances. Sometimes this takes the form of [|ad hoc] phonetic approximations, but is occasionally more formal. [|Standard Beatbox Notation] (SBN) was created by Mark Splinter and Gavin Tyte [|[5]] of [|Humanbeatbox.com] in 2006[|[6]] as an alternative to International Phonetic Alphabet ([|IPA]) transcription, which had been used sparingly before then.