As much as I am hip-hop, I'm soul. As much as I am soul, I'm a turntablist. As much as I'm a DJ, I love jazz and rock.
And more than anything, I like the improvisation of jazz. That's the same thing with DJ-ing. There's so much improvisation you can do with cuttin' and scratchin' that's reminiscent of jazz music, because it's all about how you feel. You're capturing a vibe and just going with it.
I'm not a DJ, I don't know how to scratch and I don't know how to mix, but I do know how to party. One of my jobs is actually to travel the world and party.
DJ Jazzy Jeff is the best DJ you can have at a party. Did you see his playlist? He has good taste.
For a DJ at my level, you can really go through life and travel the world without seeing a single thing. It's harder to go out and see the sights than it is to play a show.
When I dj at big venues I try to play tracks that I would want to hear if I were e'd up in a field with 50,000 other people.
Hip-hop is a competition culture. It's based around, "My DJ is better than you. My graffiti artist is better than you."
My heart goes out to DJs who are governed entirely by playlists. Being allowed the freedom of choice, that - for me - is what makes radio special.
I'm really excited about our DJ set. That's probably the most exciting of all. It's selfish but it's always your own thing that you're most concerned with.
I'm influenced by the music of the '60s. It's a mishmash of everything. To me, psychedelic can be all the way to a DJ. House music can be very psychedelic. 'Flying Lotus' is very psychedelic. Even though it's urban and technological, it's also mind-expanding, anything-can-go mishmash.
Traditionally, with a DJ set, you just go hear DJ that has a good reputation and let the DJ take you somewhere. It was up to the DJ what he wanted to play. Typically in dance music, people didn't know most of the songs a DJ played.
Growing up, I actually wanted to be a professional Baseball player, instead of a radio DJ. Believe it or not.
Herb Kent is one of the great DJs of all time, and one of the great human beings of all time.
Even when I was a hip-hop DJ I always kept it classy. The motto is always 'flashy but classy.' You've got to be original and stand out from the crowd and take some chances. But you've always got to keep it classy.
DJs should not be just pressing play with a USB stick, or getting wasted and throwing cake. I don't think [stunts like throwing cake] have anything to do with connecting with your audience. To me, it has no substantial creative value - it's just a waste of food.
Well technology has changed a lot of things, making it possible for just about anyone to make music. But not everybody is a songwriter, so that puts me in a completely different ballpark than the other DJs out here that are writing and producing tracks. I don't stop at tracks, I try to complete the whole package with the song. So working at that level has put me in a completely different place.
We found a great rhythm. Contractions started kicking in. I sat there with her, right between her legs. We got tribal on it, we danced to it! I was DJ-ing this Brazilian music.
DJs used to be American heroes. No more. Today, being a disk jockey is generally regarded as being slightly more respectable than snatching purses for a living, or robbing graves.
I'm envious of the way that electronic dance music has organised itself. It has been able to understand what it ain't rather than what it is. And I think that slipped away from hip-hop as soon as the DJs lost the majority of the say so in the direction of the music.
Rock music had become my religion. Radio my church. And these DJs my priests, rabbis and gurus.
I'm one of the few DJs who uses turntables. I'm the only DJ that's scratching.
Pete Dj Jones was the first person that I saw with 2 turntables. This was 1972.
At festivals you kind of have to play the game a bit and you have to play a lot of the big bangers but it's to me it's extra gratifying to be able to play the non-bangers and make it work. Because that's still the craft of the DJ, I think.
People think my career started when I sent that tape to Renaissance. I’d actually been working hard for seven years before I got to that point. I was putting on parties and booking DJs around me to get my name on the flyer. I knew I had to do it for myself. I knew no one was going to come knocking on my door. I knew it was up to me.
Most producers today are little bedroom producers and then they get their record and get signed by an agency and go on the road, but they have no idea about DJ-ing. They have no culture about where that music comes from and they just stand behind the booth, put their hand in the air, and play all the hits.
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