DJ
DJ O.C.P
The Original Cowboy Pimp. A DJ that knows no musical boundaries. A true entertainer.
A disc jockey or DJ is a person who selects and plays prerecorded music for an audience. There are several types of disc jockeys. Radio DJs introduce and play music that is broadcast on AM, FM, shortwave or digital radio stations.
Club DJs select and play music in a bar, club, disco, a rave, or even a stadium.
Hip hop disc jockeys select, play and create music with multiple turntables, often to
back up one or more MCs.
In reggae, the disc jockey (deejay) is a vocalist who raps, toasts or chats over
pre-recorded rhythm tracks while the individual choosing and playing them is referred to
as a selector. [1] Mobile disc jockeys travel with portable sound systems and play at a
variety of events.
DJ equipment consists of:
· Sound recordings in a DJs preferred medium (e.g. vinyl records, compact discs, computer
media files)
· A combination of two devices, or sometimes one if playback is digital, to play sound
recordings, for alternating back and forth to create a continuous playback of music (e.g.
record players, compact disc players, computer media players such as an MP3 player)
· A sound system for amplification or broadcasting of the recordings (e.g. portable audio
system, PA system) or a radio broadcasting system.
· A DJ mixer, an electronic, usually two-four channel, mixer with a cross fader used to
smoothly go from one song to another (using two or more playback devices)
· Headphones, used to listen to one recording while the other recording is being played to
the audience, and
· Optionally, a microphone, so that the DJ can introduce songs and speak to the audience.
Other equipment can be added to the basic DJ set-up (above) providing unique sound
manipulations. Such devices include, but are not limited to:
· Electronic effects units (delay, reverb, octave, equalizer, chorus, etc). Some club DJs
use a sub octave effect, which creates a very low bass sound and adds it to the mix.
· A computerized performance system, which can be used with time code encoded vinyl/CD
content to manipulate digital files on the computer in real time.
· Multi-stylus head shells, which allow a DJ to play different grooves of the same record
at the same time.
· Special DJ digital controller hardware can manipulate digital files on a PC or laptop,
by using midi signals
· Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.
Several techniques are used by DJs as a means to better mix and blend prerecorded music.
These techniques primarily include the cueing, equalization and audio mixing of two or
more sound sources. The number, complexity, and frequency of special techniques depends
largely on the setting in which a DJ is working. Radio DJs are less likely to focus on
music-mixing technique than club DJs, who rely on a smooth transition between songs using
a range of techniques. Club DJ turntable techniques include beat matching, phrasing, and
slip-cueing) to preserve energy on a dance floor. Turntablism embodies the art of cutting,
beat juggling, scratching, needle drops, phase shifting, back spinning, and more to
perform the transitions and overdubs of samples in a more creative manner (though
turntablism is often considered a use of the turntable as a musical instrument, rather
than a tool for blending prerecorded music). Professional DJs may use harmonic mixing to
choose songs that are in compatible musical keys.
Types
The role of selecting and playing prerecorded music for an intended audience is the same
for every disc jockey. The selected music, the audience, the setting, the preferred
medium, and the level of sophistication of sound manipulation are factors that diffentiate
different DJ types.
Radio disc jockeys
Radio personality
A radio disc jockey plays music that is broadcast across radio waves, AM and FM bands or
worldwide on shortwave radio stations. Radio DJs are notable for their personalities.
Because terrestrial radio usually uses program directors/music directors to generate the
play list, present-day radio DJs do not typically pick the music to play at stations.
Emceeing is their primary duty. For more information, see Notable Radio DJs.
Club disc jockeys
Using several turntables, CD players or a hard drive source, a club disc jockey selects
and plays music in a club setting. The setting can range anywhere from a neighborhood
party or a small club to a disco, a rave, or even a stadium. The main focus of club DJs is
on the music they play and how they remix tracks in and out of each other or also just to
add a bit of energy to a track. They build their sets by choosing tracks to control the
energy level of the crowd and use beat mixing (or "beat matching") technique for seamless
transition between tracks.
Hip hop disc jockeys
Turntablism
A hip-hop disc jockey is a DJ that selects, plays and creates music as a hip-hop artist
and/or performer, often backing up one or more MCs.
Jamaican-born DJ Kool Herc (born 1955), inventor of the break beat technique; he is
considered"the father of hip hop culture". Grandmaster Flash (born 1958), one of the early
pioneers of hip-hop DJing, cutting, and scratching. Created the Quick Mix Technique, which
allowed a DJ to extend a break using two copies of the same record; essentially invented
modern Turntablism. Afrika Bambaataa (born 1957) was instrumental in the development of
hip-hop from its birth in the South Bronx to its international success. He also created
the first hip-hop track to feature synthesizers; "The godfather of hip-hop" Jazzy Jay
(born 1961) was pioneering DJ, who helped Rick Rubin lay the foundation for what would
become Def Jam Recordings. DJ Jazzy Jeff (born 1965), of DJ Jazzy Jeff and the Fresh
Prince (also backed Will Smith on his solo efforts). Jam Master Jay (1965-2002), founder
and DJ of Run-DMC, one of the most innovative hip-hop groups of all time. DJ Clue (born
Ernesto Shaw on January 8, 1975 in Queens, New York City) is a mix DJ known for his
involvement in the mix tape circuit. He signed as an artist on Roc-A-Fella Records. Eric
B. (born 1965), one half of duo Eric B. & Rakim, popularized the James Brown-sampled funky
hip-hop of the late 1980s. Terminator X (born 1966), DJ of the highly influential hip-hop
group Public Enemy. Before rapper, Redman put out albums as an MC, he DJ'd for several New
York City groups, solo artists, and even was the official DJ for a New York nightclub
under the name DJ Red Dott. DJ Lethal, the DJ for Irish hip-hop group House of Pain who
subsequently became the DJ for Limp Bizkit. DJ Qbert (born 1969), founding member of the
turntablism group the Invisible Skratch Piklz and three-time winner of the International
DMC Award. Mix Master Mike (born 1970), skilled DJ of hip-hop group Beastie Boys,
three-time winner of the International DMC Turntablism Award. The X-Ecutioners, a
turntablist band with several collaborations with groups and artists, including Linkin
Park and Xzibit. DJ Premier (born 1966), one of the duo Gang Starr. He also featured with
many famous Hip-Hop artists like Nas, LL Cool J, Rakim and many others. See also:
Category: Hip hop DJs
Reggae disc jockeys
In reggae terms (specifically dancehall), the deejay is traditionally a vocalist who would
rap, toast, or chat to a "riddim". The term "selector" is reserved for the person who
performs the traditional function of a DJ, though he does not always play the music. He
often just selects the record and passes it to the mixer who plays it over the sound
system.
Mobile disc jockeys
Mobile DJ
Mobile Disc Jockeys are an extension of the original Radio disc jockeys. They travel with
or go on tour with mobile sound systems and play from an extensive collection of
pre-recorded content for a specific audience. In the 2000s, mobile DJs need a large
selection of music, professional-grade equipment, good organizational skills, vocal talent
as an MC, mixing skills, quality lighting, insurance for liability, and on-site back-up
equipment. [2] In the 2000s, the role of the Mobile DJ has expanded. Many Mobile DJs have
assumed additional responsibilities to ensure an event's success. These responsibilities
include the roles of MC, event organizer and coordinator, lighting director, and/or sound
engineer.
In the past, Mobile DJs utilized vinyl records or cassettes. During the Disco era of the
1970s, demand for Mobile DJs (called Mobile Discos in the UK) soared, and top Disc Jockeys
traveled with hundreds of vinyl records and cassette tapes. In the 1990s, Compact Disc
became the standard. Mobile Disc Jockey trade publications such as DJ Times magazine and
Mobile Beat magazine were founded in this era.
Mobile DJs have formed professional associations such as the Canadian Disc Jockey
Association (CDJA), the Canadian Online Disc Jockey Association (CODJA), the American Disc
Jockey Association (ADJA), and the National Association of Mobile Entertainers [3] In the
UK; associations include the National Association of Disc Jockeys (NADJ), and the South
Eastern Discotheque Association (SEDA).
Timeline
Mid-1800s to 1910s
In 1857, Leon Scott invented the phonoautograph in France, the first device to record
sound. In 1877, Thomas Alva Edison invented the phonograph cylinder, the first device to
play back recorded sound, in the United States. In 1892, Emile Berliner began commercial
production of his gramophone records, the first disc record to be offered to the public.
In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history. In the
1910s, regular radio broadcasting began, using "live" as well as prerecorded sound. In the
early radio age, content typically included comedy, drama, news, music, and sports
reporting. The on-air announcers and programmers would later be known as disc jockeys.
In the 1920s - "Juke-joints" became popular as a place for dancing and drinking to
recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and
programmer in the United Kingdom, on the BBC radio station. In 1929, Thomas Edison ceased
phonograph cylinder manufacture, ending the disc and cylinder rivalry.
1930s-1950s
In 1935, American commentator Walter Winchell coined the term "disc jockey" (the
combination of "disc", referring to the disc records, and "jockey", which is an operator
of a machine) as a description of radio announcer Martin Block, the first announcer to
become a star. While his audience was awaiting developments in the Lindbergh kidnapping,
Block played records and created the illusion that he was broadcasting from a ballroom,
with the nation's top dance bands performing live. The show, which he called Make Believe
Ballroom, was an instant hit. The term "disc jockey" appeared in print in Variety in 1941.
In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records
in the upstairs function room of the Loyal Order of Ancient Shepherd's in Otley, England.
In 1947, he became the first DJ to use twin turntables for continuous play. In 1947, the
Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first
discothèque, or disco (deriving its name from the French word, meaning a nightclub where
the featured entertainment is recorded music rather than an on-stage band). Discos began
appearing across Europe and the United States. From the late 1940s to early 1950s, the
introduction of television eroded the popularity of radio's early format, causing it to
take on the general form it has today, with a strong focus on music, news and sports.
In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties"
and assume the role of a human jukebox. They would usually play 45-rpm records featuring
hit singles on one turntable, while talking between songs. In some cases, a live drummer
was hired to play beats between songs to maintain the dance floor.
In 1955 Bob Casey, a well known "sock hop" DJ, introduced the first two-turntable system
for alternating back and forth between records, creating a continuous playback of music.
Throughout the 1950s, payola payments by record companies to DJs in return for airplay was
an ongoing problem. Part of the fallout from the payola scandal was tighter control of the
music by station management. The Top 40 format emerged, where popular songs are played
repeatedly. In the late 1950s, sound systems, a new form of public entertainment, are
developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would
throw large parties in the streets that centered on the disc jockey, called the
"selector," who played dance music from large, loud PA systems and bantered over the music
with a boastful, rhythmic chanting style called "toasting." These parties quickly became
profitable for the promoters, who would sell admission, food and alcohol, leading to
fierce competition between DJs for the biggest sound systems and newest records.
1960s and 1970s
In the mid-1960s, nightclubs and discotheques continued to grow in Europe and the United
States. Specialized DJ equipment such as Rudy Bozak's classic CMA-10-2DL mixer began to
appear on the market.
In 1969, American club DJ Francis Grasso popularized beat matching at New York's
Sanctuary nightclub. Beat matching is the technique of creating seamless transitions
between back-to-back records with matching beats, or tempos. Grasso also developed
slip-cueing, the technique of holding a record still while the turntable is revolving
underneath, releasing it at the desired moment to create a sudden transition from the
previous record. By 1968, the number of dance clubs started to decline; most American
clubs either closed or were transformed into clubs featuring live bands. Neighborhood
block parties that were modeled after Jamaican sound systems gained popularity in Europe
and in the boroughs of New York City. During the early 1970s, the economic downturn led
most of the dance clubs to become underground gay discos.
In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "godfather of hip hop
culture", performed at block parties in his Bronx neighborhood and developed a technique
of mixing back and forth between two identical records to extend the rhythmic instrumental
segment, or break. Turntablism, the art of using turntables not only to play music, but
also to manipulate sound and create original music, began to develop. In 1974, Technics
released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979, which as
of the mid-2000s remains the industry standard for deejaying. In 1974, German electronic
music band Kraftwerk released the 22-minute song "Autobahn", which takes up the entire
first side of that LP. Years later, Kraftwerk would become a significant influence on hip
hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the
mid 1970s, Hip-hop music and culture began to emerge, originating among urban African
Americans and Latinos in New York City. The four main elements of hip-hop culture were
MCing (rapping), DJing, graffiti, and break-dancing.
In the mid-1970s, the soul-funk blend of dance pop known as Disco took off in the
mainstream pop charts in the United States and Europe, causing discotheques to experience
a rebirth. Unlike many late 1960s, clubs, which featured live bands, discotheques used the
DJs selection and mixing of records as the entertainment.
In 1975, Record pools began, enabling disc jockeys access to newer music from the industry
in an efficient method. In 1976, American DJ, editor, and producer Walter Gibbons remixed
"Ten Percent" by Double Exposure, one of the earliest commercially released 12" singles
(aka "maxi-single"). In 1977, Hip hop DJ Grand Wizard Theodore invented the scratching
technique by accident.
In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip hop record to
become a hit. It was also the first real breakthrough for sampling, as the bassline of
Chic's "Good Times" laid the foundation for the song.
In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later
renamed Disco Beats), which published, hit disco songs listed by the beats-per-minute (the
tempo), as well as by either artist or song title. Billboard ran an article on the new
publication and it went national relatively quickly. Making this concept more public made
it easier for beginner DJs to learn how they could create seamless transitions between
songs without dancers having to change their rhythm on the dance floor.
1980s
In 1981, the cable television network MTV was launched, originally devoted to music
videos, especially popular rock music. The term "video jockey", or VJ, was used to
describe the fresh-faced youth who introduced the music videos.
In 1982, the demise of disco in the mainstream by the summer of 1982 forced many
nightclubs to either close or to change entertainment styles, such as by providing MTV
style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika
Bambaataa was the first hip-hop song to feature synthesizers. The song melded electronic
hip-hop beats with the melody from Kraftwerk's "Trans-Europe Express".
In 1982, the compact disc reached the public market in Asia and early the following year
in other markets. This event is often seen as the "Big Bang" of the digital audio
revolution. In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes,
gained a cult following; and the Paradise Garage, the nightclub at which he spun, became
the prototype for the modern dance club where the music and the DJ were showcased. Around
the same time, the disco-influenced electronic style of dance music called House music
emerged in Chicago. The name was derived from the Warehouse club in Chicago, where the
resident DJ, Frankie Knuckles, mixed old disco classics and Eurosynth pop. House music is
essentially disco music with electronic drum machine beats. The common element of most
house music is a 4/4 beat generated by a drum machine or other electronic means (such as a
sampler), together with a solid (usually also electronically generated) synth bassline.
In 1983, Jesse Saunders released what some consider the first house music track, "On &
On". The mid-1980s also saw the emergence of New York Garage, a house music hybrid that
was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the
Chicago house sound. During the mid-1980s, Techno music emerged from the Detroit club
scene. Being geographically located between Chicago and New York, Detroit techno artists
combined elements of Chicago house and New York garage along with European imports. Techno
distanced itself from disco's roots by becoming almost purely electronic with synthesized
beats.
In 1985, the Winter Music Conference started in Fort Lauderdale Florida and becomes the
premier electronic music conference for dance music disc jockeys.
In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It
was the first national DJ-published music magazine, created on the Macintosh computer
using extensive music market research and early desktop publishing tools. In 1986, "Walk
This Way", a rap-rock collaboration by Run DMC and Aerosmith, became the first hip-hop
song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of
hip-hop music, as well as the concept of the disc jockey as band member and artist, to
many mainstream audiences.
In 1988, DJ Times magazine was first published. It was the first US-based magazine
specifically geared toward the professional mobile and club DJ. Starting in the mid 1980s,
the wedding and banquet business changed dramatically with the introduction of DJ music,
replacing the bands that had been the norm. Band Leaders like Jerry Perell and others,
started DJ companies, like NY Rhythm DJ Entertainers. Using their knowledge of audience
participation, MC charisma and "crowd pleasing" repertory selection, the wedding music
industry became almost all DJ, while combining the class and elegance of the traditional
band presentation. New DJs as well as Band Leaders with years of experience and
professionalism transformed the entire industry. Now everyone loves a good banquet DJ. The
latest trend is to combine real musicians with the DJ music for a more personal and
artistic approach.
1990s-2000s
During the early 1990s, the rave scene built on the acid house scene. Some DJs, wanting to
be the only source for hearing certain tunes, used "white labels" - records with no info
printed on them - in an effort to prevent other train spotters from learning what they
were spinning. The rave scene changed dance music, the image of DJs, and the nature of
promoting. The innovative marketing surrounding the rave scene created the first superstar
DJs who established marketable "brands" around their names and sound. Some of these
celebrity DJs toured around the world and were able to branch out into other music-related
activities. During the early 1990s, the compact disc surpassed the gramophone record in
popularity, but gramophone records continued to be made (although in very limited
quantities) into the 21st century, particularly for club DJs and for local acts recording
on small regional labels. During the mid-1990s, trance music, having run rampant in the
German underground for several years, emerged as a major force in dance music throughout
Europe and the UK. It became one of the world's most dominant forms dance music by the end
of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards
commercialistic song structure.
In 1991, Mobile Beat magazine, geared specifically for mobile DJs, began publishing.
In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1
standard, designed to produce reasonable sound at low bit rates. The lossy compression
scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music
domain.
In 1993, the first Internet "radio station", Internet Talk Radio, was developed by Carl
Malamud. Because the audio was relayed over the Internet, it was possible to access
Internet radio stations from anywhere in the world. This made it a popular service for
both amateur and professional disc jockeys operating from a personal computer. In 1995,
the first full-time, Internet-only radio station, Radio HK, began broadcasting the music
of independent bands.
In 1996, Mobile Beat had its first national mobile DJ convention in Las Vegas. During the
late 1990s, new metal bands, such as Korn, Limp Bizkit, and Linkin Park, reached the
height of their popularity. This new subgenre of alternative rock bore some influence from
hip-hop, because rhythmic innovation and syncopation are primary, often featuring DJs as
band members. As well, during the late 1990s, various DJ and VJ software programs were
developed, allowing personal computer users to deejay or veejay using his or her personal
music or video files.
In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final
Scratch débuts at the BE Developer Conference, it is the first digital DJ system allowing
DJs to control MP3 files through special time coded vinyl records or CDs. while it would
take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would
soon become the first step in the new Digital DJ revolution. Manufacturers joined with
computer DJing pioneers to offer professional endorsements, the first being Professor Jam,
who went on to develop the industries first dedicated computer DJ convention and learning
program, the CPS (Computerized Performance System) DJ Summit, to help spread the word
about the advantages of this emerging technology.
In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer
file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of
Canada announced an MP3 DJing license, administered by the Canadian Recording Industry
Association. This meant that DJs could apply for a license giving them the right to "burn"
their own compilation CDs of "usable tracks", instead of having to cart their whole CD
collections around to their gigs. By the 2000s, play lists became tightly regulated and
new technologies such as voice tracking, allowed single DJs to send announcements across
many stations. Some music aficionados seek out freeform stations that put the DJs back in
control, or end up dumping terrestrial radio in favor of satellite radio services or
portable music players. College radio stations and other public radio outlets are the most
common places for freeform play lists in the U.S.
In 2001, Apple Computer's iPod was introduced and quickly became the highest selling brand
of portable digital mp3 audio player. The convenience and popularity of the iPod spawns a
new type of DJ, the self-penned "MP3J". First appearing in certain East London clubs, and
spreading to other music scenes, including New York City, this new DJ scene allowed the
average music fan to bring two iPods to an "iPod Night", plug in to the mixer, and program
a play list without the skill and equipment demanded by a more traditional DJ setup, and
without needing to bring a heavy case of CDs. The concept of the I-Pod DJ was a novel
idea, which eventually had dire consequences. It worked for smaller less popular nights in
the nightclubs, but without the human interaction of a professional DJ and their ability
to read the crowd, the dynamic interaction between the DJ and the dance floor were lost.
Other problems occurred with the introduction of the I-Pod wedding and I-Pod Parties, and
while a few parties were successful using this format, the majority of brides that chose
this option felt it ruined their otherwise perfect day.
In 2004, Rane introduced its own version of the digital vinyl DJ system Serato Scratch
Live making improvements in overall system stability and more closely emulating the feel
of true vinyl. Soon after many nightclub deejays that had remained true vinyl, record
aficionados began the transition to becoming digital vinyl users. In 2006, the concept of
DJ had its 100-year anniversary.
In 2006, Mobile Beat Magazine and ProDJ.Com merged, creating a new resource for mobile
disc jockeys.
Etymology
The term disc jockey was first used to describe radio announcers who would introduce and
play popular gramophone records. These records, also called discs by those in the
industry, were jockeyed by the radio announcers, hence the name disc jockey, which was
soon shortened to DJs or deejays. Today, there are a number of factors, including the
selected music, the intended audience, the performance setting, the preferred medium, and
the development of sound manipulation, that have led to different types of disc jockeys.
However, today there are many different kinds of 'DJs' and it does not always mean 'disc
jockey' in the traditional sense; for example, turntablist DJs use actual 'discs' whilst
radio DJs may use a number of sound sources including music files, CDs, jingles, and other
pre-recorded media. As of 2007, many club DJs have begun playing sets almost entirely on
CDJs, on compact disc instead of using vinyl. There are also DJs that have all their music
set up in special computer programs. This makes it even easier to set up a show without
lugging extra boxes of CDs around.
Bibliography
Wikiquote has a collection of quotations related to:
Disc jockey
· Poschardt, Ulf (1998). DJ Culture. London: Quartet Books. ISBN 0-7043-8098-6
· Brewster, Bill & Broughton, Frank (2000). Last Night a DJ Saved My Life: The History of
the Disc Jockey. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition).
London: Headline. ISBN 0-7472-6230-6 (UK edition).
· Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture,
1970-1979 . Duke University Press. ISBN 0-8223-3198-5.
· Assef, Claudia (2000). Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil. São
Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.
· Graudins, Charles A. How to Be a DJ. Boston: Course Technology PTR, 2004.
· Zemon, Stacy. The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey
Service, Second Edition. St. Louis: Focal Press, 2002.
· Broughton, Frank and Bill Brewster. How to DJ Right: The Art and Science of Playing
Records. New York: Grove Press, 2003.
See also
Disc jockey
From Wikipedia, the free encyclopedia
DJ
A disc jockey (also called a DJ or deejay) is a person who plays recorded pop or dance
music for dancers or listeners and introduces the names of the songs using a microphone.
Types of DJs
There are several types of DJs. A radio DJ plays recorded CDs on a radio station and
announces the names of the songs. A club DJ plays recorded CDs or digital Media over a PA
system (an amplifier and loudspeakers) at a nightclub, rave, or disco. A hip hop DJ uses
turntables and vinyl records to do scratching and make music while other hip hop musicians
do rapping rhythmic type of singing). Reggae DJs play recordings of rhythm instruments and
then rap or "toast" (made-up chanting and boasting) with a microphone.
1906, to a modern club the DJ has been at the center of popular music. Starting as little
more than a talking jukebox, the DJ is now a premier entertainer, producer, businessman,
and musician in his own right.
Disc Jockey,
person who conducts a program of recorded music on radio, on television, or at
discotheques or other dance halls. Disc jockey programs became the economic base of many
radio stations in the United States after World War II. The format generally involves one
person, the disc jockey, introducing and playing phonograph records and chatting
informally and usually extemporaneously in the intervals.
The idea of the program originated in the 1930s, but its development was hampered by a
Federal Communications Commission rule that required stations to identify recorded music
frequently-so frequently, as it turned out, that the message tended to irritate and
alienate the listener. The disc jockey was also restricted by musicians and artists whose
phonograph labels bore the warning "Not Licensed for Radio Broadcast." However, the show's
potential was revealed when Martin Block broadcast his Make Believe Ballroom on station
WNEW in New York City as filler between news coverage of the closely followed trial of the
kidnapper of the Charles A. Lindbergh baby. Upon the request of thousands of listeners,
the makeshift show was retained by the station after the kidnap trial. In 1940 the Federal
Communications Commission relaxed its rules, requiring that recorded material be
identified only twice in an hour, and in the same year the courts ruled that the warning
on record labels had no legal significance. From that time disc jockey, shows became
increasingly popular.
The radio disc jockey's future was clouded again during World War II by industry wage
disputes with the American Society of Composers, Authors, and Publishers (ASCAP) and the
American Federation of Musicians. At issue was the declining demand for live appearances
of artists because of the popularity of disc jockeys and recorded music. In 1944, the
disputes were settled, and wartime controls on vinylite and shellac, the materials from
which phonograph records were made, were eased.
By the 1950s listener loyalty to disc jockeys was so firmly established that the success
of any record depended on the preferences of the disc jockey. To solicit their favor,
record companies began to shower the disc jockeys with money, stocks, or gifts (commonly
known as payola). This widespread practice of commercial bribery was given national
exposure by a federal investigation in 1959. As a result, payola faded for a while, but in
the mid-1980s new exposés revealed that the practice continued to exist in many quarters.
The disc jockey format was never as popular on television as on radio, with the exception
of a few dance shows.
DJ
Person who plays recorded music on radio or television or at a nightclub or other live
venue. Disc jockey programs became the economic base of many radio stations in the U.S.
after World War II. The format generally involves one person, the disc jockey, introducing
and playing phonograph records and chatting informally, usually extemporaneously, in the
intervals. Because popular DJs are in a position to influence public tastes, record
companies have sometimes attempted to bribe them with money and gifts, known as "payola."
A disc jockey or DJ is a person who selects and plays prerecorded music for an audience.
There are several types of disc jockeys. Radio DJs introduce and play music that is
broadcast on AM, FM, shortwave or digital radio stations. Club DJs select and play music
in a bar, club, disco, a rave, or even a stadium. Hip hop disc jockeys select, play and
create music with multiple turntables, often to back up one or more MCs. In reggae, the
disc jockey (deejay) is a vocalist who raps, toasts or chats over pre-recorded rhythm
tracks while the individual choosing and playing them is referred to as a selector. [1]
Mobile disc jockeys travel with portable sound systems and play at a variety of events.
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