Ghost of a DJ
by Alex Cosper
I jumped into the DJ world straight out of high school, just to make sure I didn't start off my career with a straight job. I had interned at a popular radio station in my senior year, as well as being a DJ at my high school radio station. From this class friends helped me get to know people who pay DJs. My high school friend Sam Cadura got me my first high school DJ gigs in 1980. Through college I worked as a roller rink DJ before becoming a radio DJ and program director in Sacramento at KWOD. The magic started with hundreds of people then spread to hundreds of thousands of people.
The DJ world of playing music for crowds has had an amazing impact on society. DJs playing for nightclubs, weddings, skating rinks, fashion shows, office parties and house parties reach and affect an incredible amount of people. Some DJs mix entertaining personality with music while others hardly ever talk on the mic but concentrate on orchestrating a hypnotic music mix. A lot of DJ work involves dancing crowds, but it can also involve background music, which can almost be anything ... at low volume. It could even be local music, was always my thinking.
In the 80s most of my gigs were high school dances, weddings and parties. A lot of those gigs came from working at KWOD 106. At the time it was a top 40 station and the station would always get calls asking for DJs. The station had lots of DJs but only a few of us had equipment, so we were the ones who got the gigs. Back then the average gig I did paid between 200 and 300 dollars.
The purpose of doing DJ gigs, in my mind, is to have fun and spread the fun. It's nice to get paid, but I would have never done so many gigs if they weren't about having fun. In the 90s I concentrated more on alternative radio. KWOD was a fun independent station and had a great bond with the local community, playing a lot of local music following the success of Cake. One of the important things I learned about radio was that a certain amount of songs beyond the hits are just filler. So why not maximize the filler by playing local music, which makes the community happy?
By the end of the wild west web era of the 90s, I was spending a lot of time working on websites and my own internet radio station, which played all local music of the Sacramento Music Scene. I also began writing about radio and music for a music industry magazine.
Throughout the 2000s I made between $500 and a grand per gig in the San Francisco Bay Area. I also was the DJ for an international hotel nightclub, in which I played for a different crowd from around the world every night. It was a great way to learn about music and culture beyond American hits. I also worked on air at a dance radio station where I learned a lot about dance music and beat mixing.
As a writer, I began writing about everything that interested me about music and sharing music with others. It occurred to me that certain defunct radio stations in my hometown still had admirers years after leaving the airwaves, which is why I wrote The Legend of KZAP. I began interviewing pioneers of freeform radio, which I found to be some of the most amazing American Radio History ever. You see, a lot of radio used to be freeform and DJs got to play whatever they wanted. Most commercial radio DJs from the 80s on have had to follow station playlists.
I was fortunate to be Program Director in a few places, where I decided the music. What I learned from all those radio shows, parties and events was that the DJ does matter, no matter what you call it. For awhile I burned out on the word "DJ" just because it became too stereotyped as kind of a hyped up cardboard character, which I refused to become.
Having fun with crowds is what I enjoy. The majority of gigs were with clients who wanted me to do whatever it took to move the crowd. I usually would get a vibe from the crowd and make some funny comment about it. I rarely flipped on the mic just to babble. If I couldn't think of something entertaining or informative to say I just concentrated on the music mix. I was half scientist, half entertainer.
I always have believed great DJs don't need a script or an act or any kind of props. All you need is imagination and an understanding of your surroundings and cultural soundtrack to craft memorable moments. You know, it's funny. They say "video killed the radio star" but for me "video saved the radio star" since Joe-G decided to do a video interview with me for his internet station, SacRockRadio.
So is the tech revolution a DJ's worst nightmare? Not really, depending on who you ask. Tech has empowered all of us to do what a DJ can do and more. These days social networks let you share your comments about music and that's great for artists, especially indie artists. I'm hoping all this tech stuff will help elevate my musical project, Tangent Sunset.
The DJ lifestyle is in no way threatened by tech. As long as you forget about the money you'll be happy, as many of us venture deeper into presenting music via online media. I have my own private music station on a 2002 Mac iBook that still runs fine in 2011. I keep all music files on their own separate external drive, backed my others drives. All the songs are at my fingertips just a split second away, which is just one of many reasons I find digital music systems to be much more efficient and enjoyable than 20th century stereos.
Not everyone wants to be a DJ but what I noticed over the years is I have met a lot of people who wish they could play their favorite music on their own show for a crowd of friends. It's part of the American pop culture fantasy. Except in the old world most people didn't have time to learn how to program their own music so they relied on DJs. In the sped up new world, we can all be DJs and design our own playlists on gadgets and computers. It's fun and it's worth exploring.
© Playlist Research. All rights reserved.