exactly one month ago, I published here a text from a friend, Yves, who criticized the music going on in the evenings bears. Much discussion followed on FB and elsewhere, and DJ Yohm , who is a friend also asked me to write an answer to explain his point of view. It took me time to do it, I'm late and I apologize. So it goes like this ...
If Kafka had been a DJ ...
... I bet it would be queer, Poz and wants to play music "sharp" at parties to Bear (Bears if you prefer).
"Weg von hier ', das ist mein Ziel," you know?
It describes a Kafkaesque situation which could be the feeling that a number of DJ's today, after much criticism.
And to ask the question:
In fact, what is a DJ?
is an old debate that we address, we DJ's of all stripes, known or unknown, since we started growing a few disks near a mock dance floor.
The DJ is a bastard. Neither musician (originally the creation of its status), or simple jukebox (or at least trying to pretend that it is more than that).
Initially, he was entitled to little consideration. He has not been considered as an artist after the assimilation of the phenomenon of raves and house music. It took France a Laurent Garnier to realize what a DJ could offer its audience. And also discover that in turn could be a musician.
Yet the world of the remix is his domain, and that since the disco, well before the 90s.
Today we are in 2011 and the role of DJ is finally recognized. And much more valued. We know he is capable of producing in turn, to astonish, to detonate, mix the immiscible, to dare, to let go, to the delight or ears, or legs and sometimes both.
But yet here was some voices again. The DJ should it primarily "serve" audiences?
Should he do what is expected of him? Should please any price? Should he sell his soul to hell "commercial" as there is a hell of political correctness ....
There are many facets in what some consider a trade, and others as a passion.
Perhaps the big difference between these two approaches is confusing: there are DJ's who practice to (try to) live in, and "amateur" in the true sense of the term, who indulge in a passion and would still share that passion itself.
Wanting to live because of passing records raises several points: there's money involved compensation of such a DJ is more or less directly to the attendance of the place where it operates, and thus the satisfaction of public. It is de facto given to a notion of "making use" professional vision that are encountered in a multitude of other trades.
Pleasing musically, it's a service. It heard the public what it wants to hear at any given time. In this, these DJs Should be considered, almost, as employees of service.
This does look like there not in this profession to be appointed a time, nice name, maybe a little outdated, the record store? Profession that requires great listening skills and anticipating the desires of the public.
For other DJ's is the passion that drives them all, well before the need for paychecks, and a very personal passion for music and we want to show to others. The sense of action that then leads the DJ is rather vague, protean and elusive. It gets tricky
speaking of work, rather a book, or work within the meaning of the word. A DJ does not pieces at random. He selects them. It therefore makes a choice. This choice is personal.
What are the motivations of these choices? His only pleasure? The pleasure he knows he will get to the other? His musical curiosity? His own tastes that he will put forward through the music he loves in others?
Is this a failed artist who goes into the music of others that he is able to compose alas by itself? Is this a nester's because the music production now is a so important that eventually the "breeders" of music are as important as those that create? Is this an assembler of Engineering, who developed the art of putting together, and this has pushed more or less far a technique now known, and enlisted in electronic and computer systems increasingly sophisticated?
Yes, the DJ is in all cases craftsman.
But what is a craftsman? Let me quote this
:
"Besides the implementation of processes that are the subject of learning, a successful work of the artisan requires something else, (...) something that is not learned and that desperation we call "knack »..."
Jankélévitch, The I-don't-know-what and the almost-nothing, 1957, p. 42.
And do we not become an artist, pushing further the ownership of the songs he chose, so to come in near original composition, so the mix is pushed and the original selection of Songs unparalleled compared to any other DJ.
That portrait of the many facets of this character.
But borders are not as rigid. Because the question of success (thus commercial) also arises for the artist. There are artists
cursed, and others who are filthy rich.
But the public expects of a DJ?
I think there are as many different answers from different people that put their foot at one time or another on a dancefloor.
Suddenly, all debate is sterile, and quickly turns in circles.
As "you can not please everyone," it is better to ask to see if a DJ is able to find its audience .... and the public to find his DJ.
A DJ, a party, this is not something that is imposed. These are people who look like a movie or a book, their evening, their DJs.
is also an approach similar to that journey that makes us approach art in general. And the choice
there a. Different places in which to produce various DJs.
We love, we do not like. Finally all this is not discussed.
The important thing is to have a choice. And for this there are the artistic directors, heads of different places. It is for them to offer diversity.
diversity is achieved over time.
Each evening has its specificities. Each DJ, if it is perceived as a craftsman, has its musical world. And you are simply offered to meet him. A DJ
programming, and tastes. These are known quickly.
Today more than ever with the Internet, Facebook, blogs, etc. .... DJ publishes playlsits (sometimes) and his mixes, you can listen before you choose. Zapping is easy.
The DJ, like any artist, moved, the public has.
Artistic directors make their programming based on what they believe are the tastes of their audience.
We only hope that the public does not come to parties or concerts by chance, and he keeps active musical attitude.
it is still able to find the energy to move to what he pleases. And develop its own critical sense, rather than listening passively and have the impression that he stuffs the ears, while he always has the zapper hands.
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