the can 'o worms opened up in the dj debates has proven some
interesting ideas exist as to where the importance of a dj begins and
ends. many people make knee-jerk reactions (both positive and negative)
when confronted with questions valuing dj validity, due to their
experiences dealing with, being promoted by, enjoying, or being a dj.
most of us have had regular experiences with dj culture, some
find it as a postive subculture of electronic musics, some find it a
overblown alternative to live performances. either way, djs are not
going to cease and desist anytime soon. let's take a closer look at what
they do and how they affect the artist.
djs don't materialize from thin air. most have to scramble to
get any recognition no matter where they are, whether they are in clubs
or on radio. the most poplular form of dj promotion is the mixtape.
mixtapes are now sold in record stores, traded worldwide, even bootlegged
and resold. the majority of mixtapes sold do not have tracklistings
crediting the artists.
how does the mixtape affect the artist? would you feel it
benifits the exposure of the music, or does it hinder it? consider that
the average mixtape buyer is a "fan" of the music, but probably not
enough of a fan that they would buy even half of the original copies of
the twenty to twenty five tracks on a ninety minute mixtape. should a dj
tracklist mixtapes on the label? should they not?
artists: would you rather a dj tracklisted their tape? what if
the tape sucked? there is always the possibility that a person would
butcher a song a person worked hard to perfect. what if they didn't
touch the song at all, i.e. let a eight minute song nearly run it's
entire course, only to beatmatch it's hi-hat intro...and let it fade on
it's own? now, what happens if that dj credits the song on the
tracklist? who deserves the money paid for the tape?
artists/djs: a good number of artists who release their own, or
other peoples tracks, use djing as a form of promotion. many listmembers
are esteemed artists promoting theirs and others creations. how do you
feel about people who want taped copies of your dj performences?
djs: many of you have talents that turn mere tracks into epics,
you can create new compositions between two turntables (or whatever your
format). what about artists and critics who think the only person you
are trying to promote is yourself?
I once had an at-length discussion on the dancefloor about the
promotion end of djing. my debator offered that if a dj really wanted to
promote every track they played, they would announce artist, title and
label after playing it. i knew good and well that that was not going to
be the case (can you imagine how irritating that would be?) but i did say
this: any dj worth his salt should give that information up to anyone
who asks. then i began to wonder, what about all those djs who black out
their labels, will not engage in conversations about what's in the
crates, and fear dj competition. a dj i used to work with spent all
night, every night, next to the performing dj with a notepad in hand.
wouldn't you be kind of irritated too?
i have loads more questions i would like to ask, but in the
spirit of not turning 313 and IDM into dj discussions, i would ask that
most of this be replied to me in private email if possible, though i know
that a few listmembers responses will draw some curiosity from the
masses.
by the way, just to let you know which side of the fence i sit
on, i work as a dj 4-5 nights a week, in a silly bar/nightclub.
thanks for your input.
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Cameron psu00110@odin.cc.pdx.edu Blacksmith on the anvil in your ear
Electronica for the Jaded and Discerning
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