***THE DEAD ART OF DJING*** a rant by Gobs
Prior to 2011, I had been considering a career move to full-time DJ more and more. I had a great day job that prevented me from touring, and it was a very tough decision to quit that job, but in late 2011, with some positive reinforcement from my agent, I finally said goodbye to the television industry and moved to NYC. The following year was spent on tour, and by the end of it I came to the conclusion that I didn’t want to be a full time DJ. It wasn’t because I had lost the love for it. Rather, it was because I had waited too long, and DJing had become something different. Music was different, and so was partying, and for the most part, I didn’t like what they had become. I kept quiet about my decision for a while because, as far as I knew, I was the only one who felt this way. But conversations started to happen. Late night conversations with veteran DJ friends and colleagues. I began discovering that they were all feeling the same way. Lots of them were quitting, as well. And it wasn’t just on my level either. I started reading and hearing from highly successful names like DJ ZIMMIE, AYRES, THEM JEANS, LUNA-C, and even turntable legends, THE CROOKLYN CLAN. They all seemed to be in agreement that…
… THE ART OF DJING IS DEAD AND IT HAS BEEN FOR A LONG TIME.
What’s that, random new Facebook friend? Oh, you DJ? EDM, huh? You want to know if I’ll review your Soundcloud mix on my blog? Well I’m sorry to say this but I won’t be doing that, and if I’m to be perfectly honest, I don’t care that you DJ. Unless you are a recognized pioneer, or a producer, or you have some sort of outstanding new style that is showcased in your mix, there’s just no way that it’s worth my time. I know this is harsh, and polite Canadian, as I am, I’d never say this to anyone, but it’s what I’m thinking. The conflict is that it doesn’t take any effort to DJ anymore. Technology does most of the work for you, from sourcing the music, to blending it together. It’s the difference between making a quiche from scratch (pun intended), versus buying (or more likely stealing, if the analogy is going to be accurate) a frozen one from the store and popping it in the oven. If you made it completely yourself, and it’s delicious, that’s very impressive. If it came from the supermarket, it is not. It’s the difference between being an artist, and just being a consumer. Do you understand?
Okay, controller DJs. Go ahead and make your rebuttal. Wait, I already know what you’re going to say. You’re sick of being sh*t on for the technology that you use. DJing isn’t about what program you make your mix with. It’s about passion for the music. Well, you’ve got it half right. Any performance art is about passion. But that performance needs to be a demonstration of that passion, and what you’re doing doesn’t exude any passion at all. I’m gonna let FLEA field this one…
Back when I fell in love with DJing, that guy up in that booth had spent hours digging through crates to find the records he was playing, and then spent a lot of money on them (it wasn’t uncommon to drop $20 for one song). He had also spent countless hours practicing, and honing his craft, in order to deliver a flawless set. It wasn’t that mixing was hard, per say, but it was a skill that needed to be learned and practiced in order to get good at it. That DJ in that club had sacrificed his social life and his finances so that he could develop this talent, and he had done it all for the love of music. Do you get why that performance used to fall in line with what Flea is saying about watching an artist perform their craft? Do you understand why that is no longer the case?
“… technological advance brought with it the inevitable influx of countless people who previously didn’t have the music collection, motivation, intelligence, financial means or interest to pursue DJing as a career” – DJ Zimmie
A big part of the disc jockey’s allure used to be that he was playing music you didn’t know and couldn’t hear anywhere else. Now, we all have equal online access to music, and the internet is where we go to discover new tunes. Meanwhile, the role of the DJs to expose exciting new sounds has been replaced, and their current role is simply to play songs that everyone already knows.
“A lot of DJs … with great taste in music are putting out mixes of fantastic songs they can’t play out because, well, they can’t play them out. Crowds don’t want to hear new, good, exciting music. They want the radio and they want it right now. I get lots of great music every week. I just can’t play most of it for club crowds” – DJ Zimmie
Do you realize that, right now, at this very moment, technology could completely replace the human DJ? Somebody could create a program that tracks the itunes and Beatport charts, then searches the artist and song titles in Soundcloud, downloads 128bpm remixes, analyzes the wave form for appropriate mixing points, and then blends the tracks together live, for the enjoyment of the dancefloor. I’m not talking about the future. This could be done NOW. The only reason this program doesn’t exist is because club DJs have undercut their own worth so much that it’s ultimately way cheaper to just hire some kid to do the job. Young DJs know that they haven’t put any time or money into developing their skill set, so they’re generally more then happy to DJ for VIP access and free drinks. The people in the crowd know this too.
“All clubs play the same 100 songs so why pay someone extra because they do it better? Most of the crowds don’t care anyways” – The Crooklyn Clan
There used to be this great middle ground, between basic bar nights and big festivals, where DJs with a unique sound, or style, could earn a modest living touring around and performing at club nights that catered to specific underground music scenes. The crowd was made up of people who loved music and dancing and wanted a night out in a dark room where they could just sweat and get lost in the vibe. This middle ground was where most artistically minded DJs made their living, and it was where I had always wanted to be, but while there are exceptions here and there, it has, for the most part, disintegrated. When the music industry collapsed, live performances became the only viable way left to profit from music. Corporations started buying up venues all over the world. Now, most clubs and concert spaces are corporate owned, and those corporations have no interest in catering to counter culture crowds, or developing local music scenes. They also have no idea what’s actually happening in music, so they employ large promotion companies to book their talent, and if you’re not on their roster, you’re not getting booked.
DJing may be more popular then it’s ever been, but the idea of a guy who stands behind a table and presses buttons is still a difficult way to sell out a stadium, or a large concert hall. In order to earn the kind of money that pop stars make, the festival circuit was a necessary move, so that many DJs could be added to one lineup, to justify an astronomically large ticket price. The rise of music festivals was not a grass roots trend brought forth by growing public interest. It was a calculated move, by the music industry, to profitably mainstream DJ culture. Consequently, if you’re not a festival DJ, your only option is small, independently owned venues, which all struggle to stay open, and a lot of abuse inevitably comes down on the artists, meaning that you have to constantly hustle to survive. It might be all worth it if the attendees were really into what was happening, but club crowds suck now.
I remember, several years ago, hanging out in the DJ booth of a Toronto nightclub, while RYNECOLOGIST was working the decks. He started beat juggling like crazy, and all the DJs in the booth went nuts with cheers. Meanwhile, down on the dancefloor, nobody even flinched. The crowd didn’t care about his turntablist skills. They didn’t want to know who he was or what he was doing. There used to be a mysticism that surrounded DJing, but that has changed. Everybody is fairly sure they know what a DJ does, and also that they could probably do it themselves, if they cared to.
So what, then, is the modern role of the headliner DJ? Well, SETH TROXLER, one of the most respected names on the festival circuit, describes the modern DJ as an “overpaid, untalented, cake-throwing, performing monkey”. At the top of the game, the role of a DJ no longer has anything to do with music. They are expected to jump around and yell into a mic and make heart hands to the crowd, as beats pump ominously from the speakers, with lazers and video screens all working in sync. They are Bono or Mick Jagger, without the rest of the band. Their job, essentially, is a host role. Now, I don’t necessarily have any problem with this. I’ve always stressed the importance of performance as part of the DJs persona. So why not do like so many others and pursue those highly coveted festival slots? Well, the fact of the matter is that…
I DON’T CARE FOR FESTIVALS
That’s something that I was afraid to say for a long time. I was worried about an angry backlash leading to a lengthy argument that I’d rather avoid. Whataya mean you don’t care for festivals? You don’t wanna play for thousands of people? You don’t wanna make big bucks? These are the questions I was expecting until I finally started speaking up and found that plenty of other artists share my sentiments.
First of all, they’re not going to be around much longer, so even if i was to make a move in that direction, it would be too late, at this point. Jumping around on stage may be a fun way to hype up a crowd, but it doesn’t exactly take much talent or skill. In fact, it’s not anything much more then what the crowd is already doing on their own. The bubble is going to burst on the festival scene because, like RUSSELL PETERS, everyone is figuring out that they’re paying a premium to watch these DJs essentially do NOTHING.
Put DJing completely aside, and I still don’t want to be at an EDM festival. A good club night is a celebration of diversity, and personal freedom. Festivals, on the other hand, are celebrations of excess and trash. There’s no diversity. Just thousands of spoiled rich kids celebrating how spoiled and rich they are. The festival caters to them because it needs to. There’s no place in the world where you have enough hip people to fill a fair grounds. If you want a crowd in the tens of thousands, you need to appeal to the average person, but only the ones who have enough expendable income to drop hundreds of dollars (or a good thousand, once you factor in molly purchases) on a glorified day out, which pretty much factors your target audience down to wealthy suburban teenagers right there.
“We’re breeding a generation of impatient, annoying festival kids. I say impatient because the patience of the clubber is different to the patience of the festival-goer… At these festivals, you get it all on a platter up-front. Lasers! LED screens! Pyrotechnics! DROPS! CAKE IN YOUR F*CKING FACE! – wait, nah man. That’s not clubbing, that’s a concert of cunts.” – Seth Troxler
But what about the hip kids in the audience? What about the music lovers who are just there to dance? What about industry professionals who are there to discover new talent? My friend, you’re delusional if you think you’re gonna find any of those things. Here’s a great clip of THEM JEANS talking about festivals, with DJ AYRES, on his SMALL TALK podcast.
[audio http://deadkidsgetlively.com/wp-content/uploads/2015/01/Ayres_Them_Jeans_1.mp3]Then there’s the most important factor, for me, which is THE MUSIC. While on tour, I played a lot of different events, small to large and everything in between. I came to notice that once a crowd reached about a thousand people, I really had no choice but to play EDM, or festival friendly tunes. The style of music that Ayres and Them Jeans colourfully refer to as “BIG SHITTY”. Essentially, when you have that many people in a room, you get a lot of different musical tastes, so much so that if you cater to any particulars, you’re alienating a bunch of others. Your only choice, if you want to deliver a crowd pleasing set, is to cater to the lowest common denominator, and just play heavy 4/4 beats and huge synths at 128. Ya know, Big Shitty.
[audio http://deadkidsgetlively.com/wp-content/uploads/2015/01/Ayres_Them_Jeans_2.mp3] ^ Ayres & Them Jeans on Miike Snow, Big Shitty, and saving club culture. MUST LISTEN!No doubt there are some of you who like EDM, and you’re probably wondering what my problem is with it. Well, it partly comes down to personal taste, but more importantly, I take issue with the fact that IT’S ALL THE SAME!
“There is a formula that everyone is following, and it makes everything sound the same. And that is the worst thing of all because it is boring, and boring is doomed to fail”. – Luna-C
Sorry, TOMMIE SUNSHINE, but your “huge achievement” is about to collapse on itself. Kids aren’t going to keep dancing to the same song forever. They already don’t care. Popular music is so disposable. At this point, it only serves as the soundtrack to an experience. It’s no longer the focus. Why would it be? In order to command attention and immersion, music requires ARTISTIC INTENTION. No amount of properly separated frequencies will replace that.
“we have so many talented producers, but not so many talented artists. This is a problem, because progression requires ingenuity, and we are not progressing the quality of music, even if we are progressing the quality of how the music sounds” – Luna-C
“Have fans been cultivated to actually “LIKE” who is being booked, or is the “experience” the only thing festivals have to offer? Billionaires can afford to be one-trick ponies. A worldwide phenomenon like EDM or Global Bass relies on inclusion and diversity.” – MC Zulu
“If you think popular music is good, you probably also think McDonald’s makes good burgers.” – DJ Zimmie
Now, before I leave you be, I CAN’T STRESS ENOUGH that although you may have chosen to read it that way, my intention was NOT for this article to have a bitter tone. I’ve always been obsessed with the future, and I know all too well that nothing lasts forever. If you really thought that there would be no end to DJing and dance culture, I’m afraid you were fooling yourself.
My boss, from when I worked in television, made his living as a “music editor” back in the 80s. His job was to take all the different tracks that make up an original film score, and edit them to fit perfectly with the picture and other audio. There was a lot of demand for this job, at the time, and he was quite successful. Then a computer program, called PRO TOOLS, was invented. All of a sudden, composers could easily do their own editing. The job of music editor swiftly became extinct. Did he curse this new technology, demonize those who used it, and campaign for the preservation of the traditional discipline? No, he didn’t. He accepted that technology had moved forward, as it always does, and rendered his job obsolete. He focused his efforts on pursuing a new career in video editing, and many years later, he is now a highly acclaimed television producer.
Do you get why I’m telling you that story? Do you see how the same idea applies to DJing? All good things come to an end, and if you try to resist change, you are wasting your effort and fighting a losing battle. Instead, the best thing you can do for yourself is accept change, and move on to the next exciting chapter of your life. It’s those who are able to easily adapt that are going to be the most successful in this brave new world.
SO WHAT’S MY POINT IN WRITING ALL THIS?
Good question. I guess, there are several. First and foremost, I’ll have this article which I can send to people when they ask me why I’m no longer DJing for a living, which I get asked all the time, and up until now have always responded with, “it’s too much to get into. Let’s just say that DJing has changed”. Secondly, this was an opportunity to explain to a younger generation of disc jockeys, and dance music enthusiasts, who REALLY don’t understand, why what’s happening in the booth now just isn’t the same thing as what was happening a decade ago. And finally, my hope is that maybe, just maybe, the next kid who sees AOKI on a festival stage and decides that’s what she wants to do with her life, will read this, and instead of going for that Traktor Controller, will perhaps pick up a musical instrument, or a legal copy of ABLETON. Live performance is the FUTURE, and the music we’re gonna be paying to experience is going to be complex, progressive, and emotional. “Sure there will be people DJing but it won’t matter”.
As JOE STRUMMER said, “the future is unwritten”. I’ll leave you with another quote from SETH TROXLER who has a more hopeful outlook on what the future of dance culture holds…
“WHEN THE BUBBLE BURSTS, WE’LL HAVE A NEW GENERATION OF DANCE FANS”
“Not everyone’s a lifer in this world, but what separates the wheat from the chaff is intellect. Intellect is a true indication of taste. Some smart kids are standing in these EDM festivals, in the mud and heat and sick, and they’re thinking, “Yeah, this is fine for now, but this can’t be it forever”. There’s got to be something better – but they have to find it for themselves. That’s the next generation right there.” – Seth Troxler
COLDCUT – 70 MINUTES OF MADNESS + MORE BEATS & PIECES
Let’s celebrate the next chapter of music history with a nod to the past. In 1995, I was digging through stacks of CDs at Toronto’s flag ship HMV store, which I loved to do every time I earned myself enough funds to buy another album. The one I settled on this time was a JOURNEYS BY DJ mix compilation by sampling pioneers, COLDCUT. I didn’t know it yet, but I was listening to a mix by a duo that have probably had a greater influence on DJ culture, especially on the technological side, then any other artists in history. I also didn’t know that I had just bought one of the most influential mixes in history. In fact, UK music mag, JOCKEY SLUT, voted it “Best Compilation of All Time” in 1998. I know I’m a weird DJ, what with my complete disregard for genre. Well, this mix is largely to blame. Get ready for 70 MINUTES OF MADNESS, as the name suggests. It would be an impressive accomplishment even if they were blending on an S4 Controller, but keep in mind, this is 1995, so the entire thing was made on turntables using real vinyl. Unbelievable.
If I had to narrow Coldcuts accomplishments down to one track, as an example, it would have to be MORE BEATS AND PIECES, which was released in 1997, and became their first top 40 hit. Chart success aside, I think this amazing audio collage stands as the greatest piece of turntablism focused music ever constructed. Every DJ should have this in their collection. make sure it’s a part of yours.
GET MORE COLDCUT
Luna-C is also to blame for my mental state. Look what you’ve done, Chris!
Thank you for reading.
This is your best article yet. Made me really sad to read.
This is your best article yet!
The part about homogenous one-size-fits-all festival music reminded me of another article I read this week about an author’s experience making a show with NBC.
“We all know that universal demographic doesn’t exist; even at the level of the person, the network’s ideal viewer doesn’t exist, much less know what it wants. This universal market of Jos. A. Bank customers watches cornstarch television and eats at Panda Express because that’s all they’re being offered. I didn’t need the show to be Baohaus or Din Tai Fung; I would have settled for Chipotle. Yet, for some reason, no one wants to improve the quality of offerings until someone forces them to. A Jedi has to say, “I want to be incrementally better than the Seth MacFarlanes and McDonald’s of the world!” for anything to change. Isn’t that the genius of Shake Shack, South Park, and In-N-Out Burger? What happened to being an incrementally aspirational society? Wasn’t America the City on the Hill? In Hollywood, it felt like, we were the town in a valley run by western Michigan.”
I hadn’t even thought of that, Jesse. Okay, I have. Most of television is crippled by this LCD attitude. But I hadn’t made the connection that it’s not just music that is suffering. So, what does this mean? Is all media doomed??
I actually think visual media is benefitting from this. Used to be there were just three channels playing the same stuff. Then cable came around and there was more room for diversity. Now with the internet, where people can make content that doesn’t have to please everyone or obey advertiser guidelines, you don’t need to be part of the homogenous network power structure to find an audience. The audience is dispersing throughout platforms and channels, which is why the Big Four networks’ number are in the tank.
But do you not think visual media is headed towards the same fate as music? The market will become so over flooded that consumers will just give up and go back to the big networks.
Such an awesome quote by Seth Troxler to include in an article like this! I like to think that I’m a bit optimistic about the future generations too. Eventually, the herd will begin to thin itself out, and the ones left standing will be the true fans. And those are the people I have hope in.
“Not everyone’s a lifer in this world, but what separates the wheat from the chaff is intellect. Intellect is a true indication of taste. Some smart kids are standing in these EDM festivals, in the mud and heat and sick, and they’re thinking, “Yeah, this is fine for now, but this can’t be it forever”. There’s got to be something better – but they have to find it for themselves. That’s the next generation right there.”
Great read!
How much privilege do “young DJs” and “kids” need to make your cut? Does not having money make them not interested? Not intelligent? Your specific use of DJ Zimmie’s quote in this context is telling. To equate someone’s financial situation with their humanity is a poor comparison in any situation.
You’ll admit that “outstanding new mix styles” can exist as an insurance plan against haters, but how many words are spent exaggerating level one arguments against software users? It seems you’re projecting your own fears of how people might misunderstand your DJing onto this article.
This article has an overall narrative that I do not disagree with. Seriously. That being said, how can you have us believe you’re not the least a bit bitter that you’re not in that “middle ground” as one of your “exceptions”? I did not choose to read the article this way. It’s simply unbelievable.
Kelly, do notice that Zimmie’s quote says “or”, not “and”? It could have been any of those factors that previously prevented a person from DJing. Not all of them at once. If I removed the word “financial means” from the quote, would it be okay? It seems you’re missing the point of the whole sentence, and instead focusing on two words. The forest for the trees, I believe, is the expression.
Yes, outstanding new mix styles do exist. Would you like some examples? I have many posted right here on this blog. Could you please provide some quotes of these “level one arguments against software users”? I really need clarification on exactly to what you are referring.
As I wrote, the “middle ground” no longer exists in any viable way. That’s not just my opinion. Ayres and Them Jeans, who both made a living in the middle ground for several years, talk extensively (and humorously) on the subject in the audio clips I provided. Did you give them a listen? Seth Troxler, as well, expresses longing for a return to real club culture. He plays the festival circuit because he needs to.
I’m afraid you’re mistaking matter-of-factness for bitterness. That happens. I just had a friend make the same mistake regarding the Crooklyn Clan quotes. If you read the article from which they came, you will find that they are not complaining. Rather, they are pointing out the blunt truth about the future of the art that they played a roll in creating.
Thank you so much for taking the time to respond. I’m overjoyed that the article struck a chord with you.
No, it would not be OK. You equate time to money in terms of skill set for young DJs later on. It’s a theme that is pervasive through-out the entire article.
When you complain about wealthy suburban kids who attend festivals, you fail to acknowledge your own privilege growing up. As in, the rich kids that could actually afford DJ gear back then. Even on a minimum wage income, things have changed. The sacrifice made then just isn’t comparable to the sacrifice needed today. We’ve been living in the worst economic times since the great depression. See what I mean by this being a theme? Your fixation on social status is dizzying.
In the article, you say that exceptions do exist here and there. Now you say in your reply that the middle ground does not exist in any viable way. Which is it? You don’t seem to have a solid position on this one. Don’t try and convince anyone that if “playing the festival circuit because you need to” was on the table as a viable life path, you wouldn’t do it in an instant.
Finally, “Matter-of-factness” is not something you can feel. You should try being more honest with your emotions instead of manipulatively making them up.
I’ve written about how time and money are two things that DJs used to sacrifice in order to pursue their craft, and this is a problem?
Kelly, I try not to make presumptions about people or things that I know nothing of, but since you’ve taken such liberties in telling me who I am, I guess I’m free to.
So I assume that you are a Millennial? Born in the 90s? Something that perplexes other generations about your age group is that you seem to think you shouldn’t have to pay for things and, in fact, are offended when somebody suggests that you maybe should. Not that I have.
I waited 2 years to write this article and one of the reasons is that I was worried the general reaction would be an attack on me as a person, and that’s exactly what you’re doing, Kelly, which is disappointing and also strange because this article is about something much bigger and more important then myself, and to my knowledge, you don’t know anything about me as a person. Luckily, the reaction has mostly been positive, or at least constructive, and I should, perhaps, ignore your attacks, but you do write as though you are an intelligent person, possibly with the best of intentions. Just a little naive, and for that reason I feel compelled to respond.
So are you honestly suggesting that DJing, prior to the Mid-Noughties, was a pass time only available to the affluent? Geez, Kelly. I don’t have time or desire to go into the entire history of DJing. Please read Bill Brewster’s LAST NIGHT A DJ SAVED MY LIFE. You’ll be glad you did. I guess I’ll just mention that DJing really started in Jamaica, with poor people who couldn’t afford to record and release their own music. The craft then immigrated to New York City, where poor ghetto kids appropriated it for similar economic reasons (amongst many others). If you look at the origins of many (if not most) of the biggest DJs in the world, including the pioneers of turntablism, I think you’ll find that they didn’t grow up wealthy.
You show your own affluence, Kelly, by failing to understand that money and social status effect EVERYTHING. So yes, I have made mention of them in the article. How could I possibly not? And I’m naturally confused why this is a problem for you, and why it’s such a focus for you.
“you say that exceptions do exist here and there. Now you say in your reply that the middle ground does not exist in any viable way. Which is it? You don’t seem to have a solid position on this one.”
Yes, Kelly. By “exceptions”, I was clarifying that I don’t literally mean every independently owned venue with a focus on art and musical quality has closed, but that MOST of them have, leaving too few to provide a VIABLE existence for artist DJs. The middle ground “has, for the most part, disintegrated”. That’s what I wrote. I then spent the rest of that paragraph and the following one explaining why that is. Once again, you seem to have become fixated on one sentence, misinterpreting its context as a result.
“Don’t try and convince anyone that if ‘playing the festival circuit because you need to’ was on the table as a viable life path, you wouldn’t do it in an instant.” (Sorry. Who are you quoting there?)
You Millennials are also known for being notorious fame chasers, so perhaps it seems impossible to you that a person might value things like personal freedom, integrity, or artistry over fame. If you knew my history, you’d understand, but you don’t so I suppose you can make whatever accusations you want about what I would or wouldn’t choose, although I’d really prefer that you avoid doing so.
One of the down sides to communicating through text is that written words are not very good at conveying emotional intent. It’s why relationship experts recommend that couples avoid fighting over text message. The words don’t carry with them any humanity or vital subtext, so the reader is left to fill it in on their own, allowing for things to be taken the wrong way. I suppose there’s not much I can do to avoid that outcome, is there, Kelly?
Oh wait! I suppose I could spend several paragraphs explaining my emotional intent.
Oh wait! I did!
Thank you for your comments and for your passion, Kelly. I really do appreciate it.
When you accuse me of only focusing on certain words, it’s as if you’re the classic redpilling cis-white male narcissistically grumbling “I’m not racist, but…” and getting frustrated when your disclaimer is not blindly accepted. You can try to shame me into submission, mansplain and damage control this all you want. Unfortunately, your artistic excuses are falling onto thin ice.
In a previous comment, you said to me: “Did you give them a listen? Seth Troxler, as well, expresses longing for a return to real club culture. He plays the festival circuit because he needs to.” I can’t tell your confusion was a genuine mistake or you’re intentionally inventing new emotional arguments for your convenience (such as when I was born) and fallaciously misrepresenting others. This display of intellectual dishonesty only builds on the toxic attitude of this article. Your flattery and compliments are appreciated, but this discussion has nothing to do with subtext and everything to do with content.
You’ve verbalized a lot of the unsaid nonsense from the times that were. Well said…
I’m glad I got out when I did…
I hate the quote comparing popular music to McDonalds burgers. Pop music is amazing.
So you’re just gonna leave it at that? Okay, Janster. I guess not everyone has a knack for debating. Thank you for your comments.
DJ Zimmie has offended my culture and he is terrible at listening to music.
As someone who has been on both sides of the generational gap (4000+ records, can mix just fine with vinyl, now using Traktor with sync, Mixed In Key and a controller) I can’t quite understand the point of this article. Technology is bad? Should we, for instance, go back to reel-to-reels in clubs ’cause that takes more effort, has more ‘integrity’, requires more work? I don’t really care what a DJ uses, as long as a). the selection is first rate and b). they have the ability to respond to the audience (though recently having seen Jeff Mills say he’s ‘willing to cut the connection with the audience to push this music further’ I am thinking over my relationship with the ‘floor).
In my humble opinion, the underlying issue here is the commercialisation of dance music. To be honest EDM has as much in common with the attitude and music played at my night (Plex in London) as Stadium Hair Metal does with your friendly neighbourhood rock club. As long as people keep chasing popularity over artistry (or an attempt to convey some sensation through that most elusive of means, music) then you will always be second-guessing, meaning you are no longer speaking for yourself, you are speaking for a presumptive committee. And as we all know, committees do not make the best artistic work 😉
Maybe I am misreading this, J, but I have the impression the OP did not deny there were/are/will always be pockets of resistance. The blurry part is the sustainability of those pockets and whether they are worth the effort. In other words:
a) Plex nights might do alright, but how many in your crew (if it’s more than yourself) are making a living out of DJing? In the early and mid-1990s, a DJ used to be paid, at least to a point they were then able to buy new records — even residents in underground clubs. Today, if you don’t have a day job, don’t even think about buying canned beans with your DJ’s wages.
b) I went to Plex only once (years ago). As soon as the music strayed off the house/Acid-house path, the audience fled the floor. Mike Dred did one of the best live sets I have ever heard — perhaps _the_ best. _Three_ people were dancing. At least two of my mates played there since, with similar results. So much for crowd open-mindedness and adventurousness. Maybe it is not like that any longer, but genre formatting is definitely something I still come across now, even in supposedly “adventurous” parties.
And then there are independent labels, who used to sell enough to stay afloat. Nowadays, releasing a record usually means debt and stacks of unplayed records in one’s cupboards.
Not complaining, btw (it doesn’t work). It’s just the way it is.
Technology is bad? Ummm, did you read the whole article? Or just the first few paragraphs??
I agree with you about how the music is piss poor these days but sadly I dont agree with you when you say that anyone who uses software isnt a real DJ. Get with the times or get left behind! how do people get their dubs now? Mp3, I dont see many of the latest tracks pressed onto vinyl, if they are its very limited. I have used 1210,s CDJ’s and now use controllers, I have been DJing since 2002 and have got to the point where I dont care what it is I mix on as long as the crowd loves what Im playing and I am happy with the equipment I have then all is good.
Yes it can be easy to DJ nowdays but then you could say the same about computers taking over offices, no one writes a letter any more and we have all embraced computers we have also all embraced smart phones with newer technology so why can’t some people accept that music has also moved with the times?. The age old vinyl argument is a long loborious moanathon of washed up has beens with rose tinted glasses on and that is how a lot of them are perceived even by myself who has mixed on 1210s yet has gone with the times.
I listen to peoples mixes if they tag me because I like to hear tune selection and mixing, I dont look down my nose at anyone who may have lesser equipment or has “cheated”. This article was good up till it descended into the usual vinyl vs digital slanging match.
Vinyl vs digital slanging? I think you missed the point of this article. Maybe didn’t bother to finish reading it? We seem to be pretty much in agreement here. Perhaps you should give it another read.
Thank you for your comment.
”Get with the times or get left behind” what a load of old rubbish. Spoken like a true tech-slave. You dictate what you want to use. Not big corporate companies who come up with new gear for you to upgrade to every year, because you don’t want to get ”left behind”.
This isn’t a race.