The Jock Jam Megamix was one of the first legalized mash-ups to sell over 500,000 copies according to soundscan in the late 1990s. While at Tommy Boy Records, Rich Pangilinan was credited for his work on the platinum selling Jock Jam Megamix and Jock Jams compilations. In 1995, he left Texas for New York City to work for WHTZ-Z100 and Tommy Boy Records. From there he held radio mixshows with KHFI-Austin and KTFM-San Antonio. However, his break into the radio world was when in 1993, joined KRBE 104.1 FM under Tom Poleman and Paul 'Cubby' Bryant. He began his career in Houston, Texas back in 1987 working for a rhythmic top 40 station KNRJ under a different DJ name, DJ Rich. Billboard Magazine lists The Riddler as one of the Top 10 Acts of all time with the Most entries on the Dance/Electronic Albums Chart DJ Riddler has released over 19 commercial mix compilations on such record labels as Tommy Boy Records, Strictly Hype Records (SHR), MCA Records and Ultra Records selling over one-million copies. DJ Riddler is also part of the group MYNT who had several hits including 'How Did You Know', 'Stay' and 'Still Not Sorry'. He became the first Asian-American and Filipino-American mixshow DJ to be on commercial radio in Houston, Austin, San Antonio, and New York City. They will be revisited in alphabetical order by track title.DJ Riddler also known as The Riddler (born Richie Pangilinan in Chicago, Illinois) is an American dance DJ, producer and remixer on New York City's WKTU 103.5FM, WHTZ 100.3FM, on Portland's KKRZ 100.3FM and on KKHH 'Hot 95.7 FM' in Houston. Most still rotated on a given stadium or arenaвЂ™s playlist, though that too underscores their curious exclusion.Д«ased on what (and who) worked best for Jock Jams and game-day presentations in general back then, these 10 tunes stand out among the seriesвЂ™ omissions. Whether it was due to a rights technicality, a thanks-but-no-thanks message from one party to another, or uncharacteristic oversight, many Jock Jams-worthy songs did not get their turn. Not every pick turned out to be a gem either, which through time casts more light on the glaring cuts. By the same token, the powers that be at ESPN and Tommy Boy could only select so many tunes. That was why one heard (and still does hear) plenty of AC/DC, Guns вЂ™N Roses, Metallica, and Motley Crue at games, but never saw them listed on these compilations. There were players of other styles in the game, but they implicitly did not befit this teamвЂ™s system. Much like an athletic team, the Jock Jams franchise clearly liked its identity. Then again, for those who frequented sporting events, this music might as well have been mainstream. ESPN maintained its imprint through Volume 4, then ceded control to Fox Sports for 1999вЂ™s Volume 5.ДЇor the most part, especially in the ESPN era, Jock Jams kept its crux of late-вЂ™80s and вЂ™90s content that hovered around the mainstream fence.

Conversely, beginning with Volume 1on July 25, 1995, Jock Jams released one edition every summer to close out the decade. Tellingly, Jock Rock generated one more volume under its original focus, then went dormant until 1999вЂ™s Jock Rock 2000 more or less competed with a then-infant Now ThatвЂ™s What I Call Music!series. Following up on the previous yearвЂ™s oldie-laden Jock Rock, Jock Jams unleashed a slew of suggestions for modern house, hip hop, Eurodance, and other genres to permeate PA systems. On July 25, 1995, the tandem of Tommy Boy Records and ESPN contemporized their grasp on the relatively novel phenomenon of canned music at sporting events. system staples are suspiciously missing from the series. Jock Jams has cemented canned music as part of sporting events, but many P.A.

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