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A disc jockey (also known as DJ or deejay) is a person who selects and plays recorded music for an audience. Originally, disk referred to phonograph records, while disc referred to the Compact Disc, and has become the more common spelling. Today, the term includes all forms of music playback, no matter the source.

There are several types of disc jockeys. Radio DJs introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, discothèques, at raves, or even in a stadium. Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. 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 recorded music at a variety of events.

Contents

Equipment and techniques

A 2000s-era DJ set-up, including a computer, a mixer, and Pioneer CDJs and M-Audio Torq DJ equipment.

DJ equipment may consist of:

  • Sound recordings in a DJ's preferred medium (e.g., vinyl records, Compact Discs, computer media files, etc.);
  • A combination of two devices (or only 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, etc.);
  • A multiple Sequencer which can mix MIDI tracks with Digital Audio
  • 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, which is an electronic (usually 2- or 4-channel) audio mixer usually equipped with a crossfader 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 could or can be added to the basic DJ setup (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-harmonic synthesizer effect which either doubles low frequencies with energy added an octave lower or synthesizes harmonics such that the impression of a very low bass sound is added to the mix.
  • A computerised performance system, which can be used with vinyl emulation software to manipulate digital files on the computer in real time.
  • Multi-stylus headshells, 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;
  • Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.

Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization, and audio mixing of two or more sound sources. The 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 procedures than club DJs, who rely on a smooth transition between songs using a range of techniques.

Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing to preserve energy on a dancefloor. 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 (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.

History

19th century to 1920s

In 1857, Leon Scott invented the phonoautograph in France, the first device to record sound. In 1877, Charles Cros invented the phonograph in France (it was patented before Edison's invention but never built) and 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 records to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, that of a contralto singing Handel's Largo from Xerxes.[2]

The world's first radio disc jockey was Ray Newby, of Stockton, California. In 1909, at 16 years of age, Newby began regularly playing records on a small spark transmitter while a student at Herrold College of Engineering and Wireless, located in San Jose, California, under the authority of radio pioneer Charles "Doc" Herrold Though it was really called Disco Jockey.It has been changed through the years to Disc Jockey but it can be referred as DISCO or DISC Jockey.[3][4]

We used popular records at that time, mainly Caruso records, because they were very good and loud; we needed a boost… we started on an experimental basis and then, because this is novel, we stayed on schedule continually without leaving the air at any time from that time on except for a very short time during World War I, when the government required us to remove the antenna… Most of our programming was records, I'll admit, but of course we gave out news as we could obtain it…[3]
—Ray Newby, I've Got a Secret (1965)

By 1910, regular radio broadcasting had started to use "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 places 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.[5]

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 Shepherds in Otley, England. In 1947, he became the first DJ to use twin turntables for continuous play. Also 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, brought the two-turntable system to the U.S. Throughout the 1950s, payola payments by record companies to DJs in return for airplay were 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, were 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

A DJ nicknamed "Captain PJ" performing at the Spectra club in 1977.

In the mid-1960s, nightclubs and discothèques 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 beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between records with matching beats, or tempos. Grasso also developed slip-cuing, 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 modelled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City.

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 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 breakdancing.

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 discothèques to experience a rebirth. Unlike many late-1960s clubs, which featured live bands, discothèques used the DJ's selection and mixing of records as the entertainment. In 1975, record pools began, providing disc jockeys access to newer music from the industry in an efficient method.

In 1975,[6] hip-hop DJ Grand Wizard Theodore invented the scratching technique by accident. 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 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 beats per minute (tempo), as well as by either artist or song title. Billboard ran an article on the new publication, and it went national relatively quickly. The list made it easier for beginning DJs to learn how to create seamless transitions between songs without dancers having to change their rhythm on the dance floor. Today, DJs can find the beats per minute of songs in the BPM List.

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 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 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 became 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. Bandleaders, like Jerry Perell and others, started DJ companies, such as 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 bandleaders with years of experience and professionalism transformed the entire industry.

1990s

During the early 1990s, the rave scene built on the acid house scene. 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 commercialized song structure.

In 1991, Mobile Beat magazine, geared specifically toward 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, nu 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 debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of 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 industry's 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 perform publicly using music stored on a hard drive, instead of having to cart their whole CD collections around to their gigs.

2000s

DJ Spooky performing at Earth Day 2009, Washington, D.C.

By the 2000s, new technologies such as voice tracking, allowed single DJs to send announcements across many stations.[7] Commercial radio DJs were increasingly limited in their freedom to select which songs to play. Some music aficionados sought freeform stations that put the DJs back in control, or chose instead to listen to satellite radio services or portable music players. College radio stations and other public radio outlets continued to be the most common places for freeform play lists in the U.S.

In the late 1990s and early 2000s, the convenience and popularity of the MP3 and the increasing power of laptops spawned a new type of DJ, the "MP3J". In 2004 Serato 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. Rane has since licensed the software as well as collaborated with Serato to bring out a hardware mixer version in 2006.[8] Soon afterward, many nightclub deejays that had remained true vinyl record aficionados began the transition to becoming digital vinyl users. Serato Scratch Live has since become the most popular MP3 manipulation software/hardware, and can be found pre-installed in famous clubs around the world. In 2006, the concept of DJ had its 100-year anniversary. In January 2008, Serato introduced Video-SL, which is a plug-in for the popular Serato Scratch Live software. This plug-in gives DJs the ability to manipulate music videos in the same way they have been manipulating music, spawning a new generation of "VJs" (Video Jockeys).[9] In the late 2000s, topless female DJs have appeared in special nightclubs, primarily in Finland and Russia.[10][11]

See also

Notes

  1. ^ Last Night a DJ Saved My Life, written by Bill Brewster and Frank Broughton, Published by Headline, updated 2006
  2. ^ Brewster, Bill (2006). Last Night a DJ Saved my Life. Headline. pp. 29. ISBN 0-7553-1398-4. 
  3. ^ a b Ray Newby appearance on CBS' I've Got a Secret, September 27, 1965. Secret listed as: "'I was the world's first radio disc jockey' (in 1909)." Rebroadcast on the Game Show Network on May 22, 2008.
  4. ^ Bay Area Radio Museum. "Doc Herrold and Ray Newby". http://www.sfradiomuseum.com/schneider/radio113.shtml. Retrieved 2008-05-21. 
  5. ^ Fisher, Marc. Something in the Air. Random House. pp. 13. ISBN 978-0-375-50907-0. 
  6. ^ http://www.rane.com/dj/gwtheo.html
  7. ^ Reese, David; Lynne S. Gross, Brian Gross (2005). RADIO PRODUCTION WORKTEXT. Focal Press. pp. 188. ISBN 0240806905. http://www.amazon.com/Radio-Production-Worktext-Studio-Equipment/dp/0240806905/. 
  8. ^ Rane.com Rane Corporate Milestones
  9. ^ "Serato Video-SL". http://www.scratchlive.net/about/video-sl. 
  10. ^ Ilta-Sanomat (4 June 2008). "Sedu brings topless female DJs to his nightclub!" (in finnish). http://www.iltasanomat.fi/viihde/uutinen.asp?id=1539640. 
  11. ^ Portia Surreal. "The website of Portia Surreal, a US-based topless DJ". http://www.myspace.com/djportiasurreal. 

References

  • 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.
  • Brewster, Bill, and Frank Broughton (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).
  • Broughton, Frank, and Bill Brewster. How to DJ Right: The Art and Science of Playing Records. New York: Grove Press, 2003.
  • Graudins, Charles A. How to Be a DJ. Boston: Course Technology PTR, 2004.
  • Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970–1979 . Duke University Press. ISBN 0-8223-3198-5.
  • Miller, Paul D. aka DJ Spooky, Sound Unbound: Writings on DJ Culture and Electronic Music, MIT Press 2008. ISBN 0-2626-3363-9 ISBN 978-0-2626-3363-5.
  • Poschardt, Ulf (1998). DJ Culture. London: Quartet Books. ISBN 0-7043-8098-6.
  • Zemon, Stacy. The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service, Second Edition. St. Louis: Focal Press, 2002.

External links


Quotes

Up to date as of January 14, 2010
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DJ, music

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  • It was a DJ style which helped to create the lifestyle which came to be known as hip hop. At the beginning of the disco era in the first half of the 1970s, regular disco jocks in clubs were most concerned with the blend between one record and the next - matching tempos to make a smooth transition which, at its best, could continually alter the mood on the dancefloor without breaking the flow. At its worst the technique could turn the night into one endless and inevitably boring song.
    • David Toop (1991). Rap Attack 2: African Rap To Global Hip Hop, p.12. New York. New York: Serpent's Tail. ISBN 1852422432.


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Look up DJ in Wiktionary, the free dictionary

Simple English

[[File:|thumb|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 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.

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