The New Rock Stars

The DJ market is rising. It’ll explode in the next 10 years. It’s already begun.

Why are people foregoing guitars and buying DJ starter kits?

Because it’s fun!

I was listening to Armand Van Helden’s New York: A Mix Odyssey, and it’s really incredible when you think about it. He starts off with Blondie, travels all the way to Felix Da Housecat, and ends his set with Yes’s Owner of a Lonely Heart, all without dropping a beat. It’s heavily 80s influenced, and for me that’s alot of fun.

What good DJs have to do is keep up with current music scenes as well as understanding music culture past. I don’t know many musicians that I went to school with that can do that, granted, if they were into that stuff they would’ve been in a band and not in college. They might be able to identify intervals and write typical 4-part progressions, but they cannot measure a room and play the right song at the right time to keep a party going.

I’ve always wanted to try doing a set with my laptop with Live (and with my own material, I wish there were people around here that could teach me this stuff). Some would say that that’s kind of lame, and granted it doesn’t take as much skill, but it’s just so convenient to have a whole library on a hard drive instead of bringing binders of CDs to gigs.

Which is kind of a moot point anyway. The Adirondacks don’t have much of a nightlife. The best thing I could do is a high school dance, and that wouldn’t allow me to play what I want. I’d just get teenagers who want to hear Hillary Duff or whatever bands are being pushed on the radio (which are necessary to play once in a while). It’s almost like there’s something about a beat that scares people…like they aren’t familiar with it, and therefore it isn’t musically valid.

I have no musical outlet right now other than myself.

1 thought on “The New Rock Stars”

  1. Although I’ve been a fan of trance and hip hop for a while now, this poss/probability fucking scares and irritates me. Because:<br/><br/>A.) DJing is fun and all, and keeping a party bumping isn’t as simple as throwing on “NOW THAT’S What I Call Music Vol. 74666”, but I still have a little of that early 90’s metalhead mindset (directed at the time towards rap with sampled loops) that if you are performing and selling music that you neither wrote nor significantly modified/improved, you are not talented or special. All DJ’s are not created equal, and I’ll take a Paul Van Dyk mix over Marco V any day, but really, all it boils down to is that PVD has (IMO) better taste for music and a better sense of “flow”. And these examples are people who actually do (occassionally) write their own (mostly cliche) tracks, and make efforts to truly mesh their mixes with seamless transitions.<br/><br/>B.) While I will go back to certain DJ’s, and be guilty of it myself, it always irks the hell out of me when someone talks about “Track 5 on the Oakenfold CD” and I realize and understand (from some personal experience) that someone put a lot of effort into making this memorable track, only to have that overrated limey fuck come along, mix it with a track or two of his own and a bunch of similarly anonymous opuses (opi?), slap his picture on the disc and get a majority of the glory and dinero. This is not to say that I wouldn’t be celebrating if anything I ever wrote appeared on “Global Underground Vol. 74666”, or that he hasn’t improved his own music with time, but nonetheless, I don’t think someone who has figured out how to put a needle to a record deserves the same reverence as the person who made that record or a person who’s figured out how to write and/or play intricate riffs on a guitar or piano.<br/><br/>C.) This also means that we’ll probably be hearing more of the likes of DJ Clue, who should have a microphone shoved down his fat throat, numerous Numark needles jammed into his eyes, and an old delay unit smashed into his skull repeatedly. He is what scares me the most about the concept of a rockstar DJ. No fucking talent whatsoever, but all the pretention to consider himself a brand name and shout loudly over the latest pop tracks with a fucking echo like there’s even one person out there who wants to hear his goddamn blather. All he does is start playing a song when the other one ends, often totally off beat, and shout “DJ CLUE CLUE Clue Clue clue…YYEEEAH YYEEAH Yeeah yeeah” and he gets fucking money for this? When I read your post, Dan, all I can think about is all the people I know now who will casually say “Yeah, I’m a DJ” like they’re hot shit(when the only thing that qualifies them for that title is that they’ve spent money on tables and a PA), a few years down the road making that asshole look like Mozart. Yeah, I know lot’s of people who similarly say “Yeah, I play guitar”, but no talentless guitarist will find himself selling studio quality CD’s, nor can he go out, just buy a bunch of guitar books and get up in front of a party full of drunks and haphazardly play his guitar without getting the booing he deserves. DJ Clue does just that for a living, and I resent the fact that I even remember the miserable douchebags name.<br/><br/>To me, essentially, the concept of a “Rockstar DJ”, particularly one who plays pop music, is the epitome of a culture that values flash and focus grouped studio tricks over any serious talent, soul, or innovation, and this is a culture I’ve come to loathe. And in this case, not even the manufactured producer puppets that pass for “stars” these days would be the main attraction.<br/><br/>Anyway, enough Clue bashing for now. Kudos on the blog O Wise Music Guru, I read it every time I see you online and see the link in your profile, and it hasn’t failed to entertain me yet.

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