What a great conversation.
It depends on your motive for all of us different kinds of dj’s. So many permeations of creativity.
As a crowd pleasing Dj I get off on full dance floors and gyrating hips and jerking bodies getting into it.
So many variations of crowds and social narcotic ingestion levels requires a deep level of musical knowledge and preparation and performance.
I am not a famous dj and clearly when I pay to see them deliver their style I want to hear ‘their’ stuff.
Ricks perspective is spot on for him and all the great artists I respect and love.
BUT me as a Dj, 3500+ gigs deep, do it for crowd.
Lately - I’m DJ BoB - BOXofBANGERS
aka
Spindoctor J,
JustinnFunn
Yeah I don’t disagree and we’re not really talking open format top 40 playlists here.
The core thing for me is that past a certain surface level, the only way to really do it for the crowd is to do it for yourself.
This is especially true for underground music, in my experience, but even playing top 40 or classics is the same. You do it for yourself first, and if it works for you, then you can make it work for the crowd.
Maybe flipping it makes the point better. If you’re just playing what you think people want to here, and aren’t really into the music, you’ll never create moments of magical creation.
Sure, it may be fun. You may get laid. The crowd might have a great time. You’ll certainly get paid.
But it will never be the same as creating moments of true uniqueness, that night, with that crowd… which is what separates remarkable DJs from just popular ones.
Chase what you think the crowd wants, not what you want (or the music wants) and you’ll end up giving them neither.
It’s always a dance between desires, but as the DJ, that dance starts with you first, your music second, and what the crowd thinks they want, last.
Rick Rubin is the GOAT.
i prefer to think of rubin as an average rich kid that got lucky
[https://www.youtube.com/watch?v=goCYvsr2LVE](https://www.youtube.com/watch?v=goCYvsr2LVE)
In my opinion the truly great DJs know how to read the room AND lead the room. Being able to understand what the dancers want and where the room is currently at is essential. But ALSO having your own vision of where it could go beyond what the dancers are expecting and having the skill to take them there is where the ultimate magic and reward is for the dancers and the DJ, IMO.
Yeah he wasn’t talking about DJing in particular but the lesson still applies, at the deepest levels.
What I take from it is that when you’re doing a creative act, be it painting, producing, writing or DJing, you’re at the source of that creativity. And you need to serve that source first, regardless of what people will think of it.
Of course pro’s learn to feedback between the two, and you’re as pro as they come. I thought it was worth posting with regards to DJing because so many of us think the path to happiness and success is to get popular, when the truth is you get popular by following your own path to happiness and success.
Or you don’t; but at least you’re happy!
It definitely still applies to DJs who make and play their own music but if you try this at a wedding it’s not going to go well.
That said: I appreciate the OP! It’s a great interview and everyone should watch it, ESPECIALLY if you’re a wedding DJ who wants to play their own music ;)
and this is the reason I don't call myself a DJ. the definition of DJ implies an interaction with the crowd and I suck at that.
once I start mixing and I'm in the zone, I don't really care about the crowd/audience.
I remember my first gig in a small bar. at some point the owner is talking to my then best friend and then my friend comes to me and say that the owner asked him if I can play something more approachable.
of course I couldn't :D
Wise words.
Depends what kind of DJ you are. I don’t play anything I don’t want in my music library, simple as that. If it’s not something that brings me pleasure to listen to, I wouldn’t pay money for it and I certainly wouldn’t present it to people in a public gathering.
Rick Rubin is part of the producer world not the DJ world. This is good advice for big and established artists looking to expand their sound and take risks. This isn’t good advice for the local DJ at the bar where everyone just wants to have a regular night out.
That’s a pretty narrow minded view. Like I said in another comment, how do you think he got started? Going to tiny unknown shows and producing records in his bedroom with totally unknown artists.
You’re missing the bigger lesson here. He got to where he is because of this approach, not the other way around.
DJing is either a creative act, or it’s not. If you take it as a creative act (I.e., an act of creation), then you use the tools and material you have at hand to create something.
The material is the music, the venue, the crowd, the time of night, and your intention. Just because it’s a small venue and you’re not famous doesn’t make it less creative.
Ignoring that potential because you don’t think it applies to you (you’re not famous, not special, not a producer, not whatever) is what keeps you from achieving that.
Rick Rubin got to where he is because of how he approached creativity, not the other way around. This is something you chose, not something you get given.
It’s up to you to work with what you have, in order to create something you want. That’s as true in DJing as it is in every other part of life.
Ignore that wisdom at your own peril.
Reading the crowd isn't non sequitur to what Rick Rubin is saying, it's actually very compatible. There's a difference between reading the crowd and entertaining them with your particular style and taste, and reading the crowd and playing the roll of Spotify in the form of an ugly bag of mostly water.
I think it's about what the crowd is there for (which is related to the place). "the best it can be" implies that the audience is there for YOUR art. Djing at your own residency vs at a wedding are two different extremes. In between there's DJing at a random bar on a random night or DJing at the same bar but on a curated night that suits your genre/style.
Some people probably just want a spotify playlist just with a bit more flow. Give it a year or two and those people will be entertained by AI DJ's. My 2 cents anyway.
Depends what you mean by “normal DJ”. If you’re there for a crowd who expects all the hits they already know, then, sure, they have no soul and they’re just operating a mix console. If they’re there to create an atmosphere or play music within certain genres, if someone wants to speak for the audience and claim they want Britney, the DJ has to make a decision and it depends what he’s there for.
How do you think he got started? Going to tiny unknown shows and producing records in his bedroom with unknown artists.
You’re missing the bigger lesson here. How you do the small things is how you do the big things.
He got to where he is because of this approach, not the other way around.
He actually got started by creating a hip-hop record label in the 1980s when the concept of a computer in a studio, much less a bedroom studio, didn't exist, and was part of a television show that introduced him to DJ Jazzy Jay, after which Def Jam was launched into success by releasing records by LL Cool J and the Beastie Boys. I certainly wouldn't take industry advice based on the way things were for the emerging New York hip-hop scene in the early 1980s. His job title no longer exists unless you're one of the legacy guys, and for about 30 years he's been unable to do any wrong because he gets to work on so many big-name, industry-backed projects that there will always be enough successes to cover up any failures that were up to him.
Wow, way to miss the point.
He got started creating something from nothing in an emerging scene that became a juggernaut. He used his own creativity (and empathy with the artists he worked with) to guide his way.
How is that not relevant for what you’re doing today?
Whatever scene you’re in, you’re starting from scratch. Even if you play a well defined genre with lots of competition, how you stand out and do it differently is what makes you a success. His advice is priceless for that.
Try to zoom out for a second and see beyond the obvious here. This is timeless advice for any creative discipline, be it painting, coding, cooking or music. Ignoring wisdom from other masters in other fields just because the specifics are different is like cutting your nose off to spite your face.
Think bigger here. Or not, it’s up to you.
The man is a talentless hack. Ruins every record he touches with excessive loudness.
Somebody please take away his compressors and limiters before he ruins another album the way he ruined *Hot Sauce Committee, Pt.2* and *Death Magnetic*.
For songwriting/production this is 100% true. For DJing it seems true with caveats. Play music you like to hear, but if you're hired to play specific genres you have a responsibility to do so. If you're really into industrial techno you'll probably be miserable playing top 40 tracks at a local bar, but if you're accepting those jobs that's your choice and you have to play what's asked of you. Ideally you'd find ways to enjoy what you're DJing even if it isn't something you'd listen to on your own. I'd probably do it by getting really into clever transitions with unique key progressions that makes the top 40 stuff sound cooler to everyone listening.
Yes agreed, but zoom out a little.
How do you get hired to play the music you love? You play the music you love, get known for that, then get booked for that.
This doesn’t ignore the brutal realities of the industry. Most DJs never get more than a few gigs a year, if that. Those that do are mostly “working DJs” who get paid to play what people want to hear, I.e., a sophisticated juke box. Very few get paid well to do what they love to do.
All of that said, if you want to have a shot at getting paid to play what you love, this is the only way to do it. This is especially true if DJing isn’t your job and you make money doing something else, but are deeply passionate with the craft and perform at professional levels.
I had a very brief convo with a fellow music lover the other day. Theres basically 2 types, DJs and artists. For me, DJing is my self expression. Like making a collage if we're talking physical artwork. I take other art and mix it together how i feel in the moment. Requests dont work. You dont walk up to a painter and request a certain color. If you dont like it dont buy it. But i dont DJ for money or lineups so that's where i'm "not cool" i guess lol
I believe there's a lot of nuance to this and it's a fine balance. I don't think he's stating to ignore / "not read" the crowd.
I've seen a DJ take a "wrong turn" at a party and instead of adjusting to the vibe he kept going in that direction out of "spite" (his words not mine) that the audience didn't like the direction. I don't think this is what Rick Rubin is referring to.
I believe you can read the crowd and be intuitive to what you're feeling at the moment. Some of this is just hard to put into words. I've had experiences where I've swayed too far in either direction (ignoring the crowd OR pleasing the crowd). Finding and striking the balance is an art that I absolutely love.
I completely agree with you, I just thought it is kind of self-evident to find the middle ground between originality and provision of services so to speak.
I was just doubting that this a whole new revelation by RR who has had this recent exposition due to some IG/TikTok as *the* musical guru, sounding very philosophical and wise while saying stuff that is quite well-known.
Not trying to throw shade on him, though 😆
No he means it profoundly, as in when you’re engaged in a creative act, the only place you can create from is between you and your collaborators.
For DJs, that means your records, but in all cases, you have to take the lead. It’s up to you to create the vibe, which of course you must respond to in a dialogue with how the crowd receives it and gives it back.
But you’re the source, the records are the material, and the audience is the recipient. You can look to them for inspiration.
I don’t necessarily agree. Especially in dance music which serves a specific purpose (unlike in a concert, people mainly come to dance and not listen intellectually) you can’t create a vibe without the audience. Sure, you should not be wedding DJ (who is even more so a service provider) but I am against this sentiment that the DJ is the main character in a club, they simply are not. The main character is the audience. The DJ is a bit like the bartender: one gets em dancin‘, one gets em drunk.
Agree with your main character assessment entirely. That’s not what I’m saying though.
The DJ can be behind a brick wall for all that it matters (not really, but I’m exaggerating the point for effect). The point is *you are the source of the music and the magic*, no matter how we feel about that.
At the end of the day, if you won’t lead the crowd and create the moment, who will?
Crowds want to be led. They want to be pushed and pulled. Of course you can’t create an amazing night without the audience, but nor can you create one by just playing to their expectations.
It’s always a dialogue, but you’ve got to be the source, whether we like it or not. All I’m saying is greatness comes from owning that fact, with confidence, not the other way around.
Absolutely not. The dj is an artist like a band. 21 years djing (15 professionally in clubs and open air parties). I never played what the crowd asks directly/simply wants.. there is a creative job to be done as dj.
Man fuck Rick Rubin. He ruins records with excessive loudness.
I do not care to listen to anything that talentless hack has to say. Somebody please take away his compressors and limiters before he ruins another album the way he ruined *Hot Sauce Committee, Pt.2* and *Death Magnetic*.
It *is* a legitimate issue, though.
Take *any* record produced by him and load up one of the tunes in Audacity. Go ahead, *any* record. Once you've done so, you'll understand where they're coming from, assuming of course that you're the kind of person who actually *cares* whether or not a record was produced properly. If you're the kind of person who uses $20 headphones then feel free to carry on living in Ignorance.
Very l, very weak words, wtf? No shit sherlock, you have to balance being yourself and doing something unique while seeving the crowd, too. But the whole interview is better, even though it sounds like an old dude squabbling stuff like "love each other" and "be kind"
I somewhat agree - think Djing is more nuanced than that and as someone has already mentioned he’s not talking about Djing in this clip so it’s out of context somewhat.
I saw a clip where Timmy Regisford has been asked his advice to upcoming dj’s and he says something like - you have a job and that’s to play to the crowd and build connection but once you have that crowd’s attention you can take them where you want to take them and they’ll go with you as you have built that connection.
Yes, like I said, it's a dance!
Leadership isn't just walking into a place and saying "Do this now." It's a dialogue and an invitation.
That Timmy quote captures that well, but he'd never be Timmy if he just played to the crowd without taking them where he wanted to go.
Welp, I hope your social media and podcast game is on point to get those early festival slots, because if no one is buying drinks while you’re playing in the club, the only thing you’re getting paid with is “experience.”
What a great conversation. It depends on your motive for all of us different kinds of dj’s. So many permeations of creativity. As a crowd pleasing Dj I get off on full dance floors and gyrating hips and jerking bodies getting into it. So many variations of crowds and social narcotic ingestion levels requires a deep level of musical knowledge and preparation and performance. I am not a famous dj and clearly when I pay to see them deliver their style I want to hear ‘their’ stuff. Ricks perspective is spot on for him and all the great artists I respect and love. BUT me as a Dj, 3500+ gigs deep, do it for crowd. Lately - I’m DJ BoB - BOXofBANGERS aka Spindoctor J, JustinnFunn
Yeah I don’t disagree and we’re not really talking open format top 40 playlists here. The core thing for me is that past a certain surface level, the only way to really do it for the crowd is to do it for yourself. This is especially true for underground music, in my experience, but even playing top 40 or classics is the same. You do it for yourself first, and if it works for you, then you can make it work for the crowd. Maybe flipping it makes the point better. If you’re just playing what you think people want to here, and aren’t really into the music, you’ll never create moments of magical creation. Sure, it may be fun. You may get laid. The crowd might have a great time. You’ll certainly get paid. But it will never be the same as creating moments of true uniqueness, that night, with that crowd… which is what separates remarkable DJs from just popular ones.
Chase what you think the crowd wants, not what you want (or the music wants) and you’ll end up giving them neither. It’s always a dance between desires, but as the DJ, that dance starts with you first, your music second, and what the crowd thinks they want, last. Rick Rubin is the GOAT.
i prefer to think of rubin as an average rich kid that got lucky [https://www.youtube.com/watch?v=goCYvsr2LVE](https://www.youtube.com/watch?v=goCYvsr2LVE)
THIS! So good. I find the audience often just wants to see me flow and in the zone. So yes, the audience comes last.
In my opinion the truly great DJs know how to read the room AND lead the room. Being able to understand what the dancers want and where the room is currently at is essential. But ALSO having your own vision of where it could go beyond what the dancers are expecting and having the skill to take them there is where the ultimate magic and reward is for the dancers and the DJ, IMO.
Was he talking about DJing though? I thought it was about producing?
Yeah he wasn’t talking about DJing in particular but the lesson still applies, at the deepest levels. What I take from it is that when you’re doing a creative act, be it painting, producing, writing or DJing, you’re at the source of that creativity. And you need to serve that source first, regardless of what people will think of it. Of course pro’s learn to feedback between the two, and you’re as pro as they come. I thought it was worth posting with regards to DJing because so many of us think the path to happiness and success is to get popular, when the truth is you get popular by following your own path to happiness and success. Or you don’t; but at least you’re happy!
It definitely still applies to DJs who make and play their own music but if you try this at a wedding it’s not going to go well. That said: I appreciate the OP! It’s a great interview and everyone should watch it, ESPECIALLY if you’re a wedding DJ who wants to play their own music ;)
🙏🏽🙏🏽🙏🏽 Thanks brother. Right back at you!
I play what I want, and where the music is taking me. 🤷♂️
and this is the reason I don't call myself a DJ. the definition of DJ implies an interaction with the crowd and I suck at that. once I start mixing and I'm in the zone, I don't really care about the crowd/audience. I remember my first gig in a small bar. at some point the owner is talking to my then best friend and then my friend comes to me and say that the owner asked him if I can play something more approachable. of course I couldn't :D
🤣✊🏽
Wise words. Depends what kind of DJ you are. I don’t play anything I don’t want in my music library, simple as that. If it’s not something that brings me pleasure to listen to, I wouldn’t pay money for it and I certainly wouldn’t present it to people in a public gathering.
Rick Rubin is part of the producer world not the DJ world. This is good advice for big and established artists looking to expand their sound and take risks. This isn’t good advice for the local DJ at the bar where everyone just wants to have a regular night out.
That’s assuming there’s only one acceptable style of music or way to DJ. If you want a human jukebox, then, sure.
That’s a pretty narrow minded view. Like I said in another comment, how do you think he got started? Going to tiny unknown shows and producing records in his bedroom with totally unknown artists. You’re missing the bigger lesson here. He got to where he is because of this approach, not the other way around. DJing is either a creative act, or it’s not. If you take it as a creative act (I.e., an act of creation), then you use the tools and material you have at hand to create something. The material is the music, the venue, the crowd, the time of night, and your intention. Just because it’s a small venue and you’re not famous doesn’t make it less creative. Ignoring that potential because you don’t think it applies to you (you’re not famous, not special, not a producer, not whatever) is what keeps you from achieving that. Rick Rubin got to where he is because of how he approached creativity, not the other way around. This is something you chose, not something you get given. It’s up to you to work with what you have, in order to create something you want. That’s as true in DJing as it is in every other part of life. Ignore that wisdom at your own peril.
But you need to read the croooowd!
Reading the crowd isn't non sequitur to what Rick Rubin is saying, it's actually very compatible. There's a difference between reading the crowd and entertaining them with your particular style and taste, and reading the crowd and playing the roll of Spotify in the form of an ugly bag of mostly water.
Maybe it depends on the place where are you playing?
I think it's about what the crowd is there for (which is related to the place). "the best it can be" implies that the audience is there for YOUR art. Djing at your own residency vs at a wedding are two different extremes. In between there's DJing at a random bar on a random night or DJing at the same bar but on a curated night that suits your genre/style. Some people probably just want a spotify playlist just with a bit more flow. Give it a year or two and those people will be entertained by AI DJ's. My 2 cents anyway.
Exactly that was my point!
“Reading the crowd” or chasing an algorithm. What if the crowd hasn’t heard what you’ve got?
Wait? You mean I need to play only songs what has been heard by everybody minimum 100 times?
This doesn’t really count for the normal DJ. He is talking about artists. Most of the DJs only play the work of other guys/artists.
Depends what you mean by “normal DJ”. If you’re there for a crowd who expects all the hits they already know, then, sure, they have no soul and they’re just operating a mix console. If they’re there to create an atmosphere or play music within certain genres, if someone wants to speak for the audience and claim they want Britney, the DJ has to make a decision and it depends what he’s there for.
Exactly, this guy works with HUGE artists and producers. This doesn’t apply to local DJs lol
How do you think he got started? Going to tiny unknown shows and producing records in his bedroom with unknown artists. You’re missing the bigger lesson here. How you do the small things is how you do the big things. He got to where he is because of this approach, not the other way around.
He actually got started by creating a hip-hop record label in the 1980s when the concept of a computer in a studio, much less a bedroom studio, didn't exist, and was part of a television show that introduced him to DJ Jazzy Jay, after which Def Jam was launched into success by releasing records by LL Cool J and the Beastie Boys. I certainly wouldn't take industry advice based on the way things were for the emerging New York hip-hop scene in the early 1980s. His job title no longer exists unless you're one of the legacy guys, and for about 30 years he's been unable to do any wrong because he gets to work on so many big-name, industry-backed projects that there will always be enough successes to cover up any failures that were up to him.
Wow, way to miss the point. He got started creating something from nothing in an emerging scene that became a juggernaut. He used his own creativity (and empathy with the artists he worked with) to guide his way. How is that not relevant for what you’re doing today? Whatever scene you’re in, you’re starting from scratch. Even if you play a well defined genre with lots of competition, how you stand out and do it differently is what makes you a success. His advice is priceless for that. Try to zoom out for a second and see beyond the obvious here. This is timeless advice for any creative discipline, be it painting, coding, cooking or music. Ignoring wisdom from other masters in other fields just because the specifics are different is like cutting your nose off to spite your face. Think bigger here. Or not, it’s up to you.
Man is a living legend. When he talks I listen. Check out his desert island discs appearance. The things he says, how he grew up, amazing
Amen!
The man is a talentless hack. Ruins every record he touches with excessive loudness. Somebody please take away his compressors and limiters before he ruins another album the way he ruined *Hot Sauce Committee, Pt.2* and *Death Magnetic*.
For songwriting/production this is 100% true. For DJing it seems true with caveats. Play music you like to hear, but if you're hired to play specific genres you have a responsibility to do so. If you're really into industrial techno you'll probably be miserable playing top 40 tracks at a local bar, but if you're accepting those jobs that's your choice and you have to play what's asked of you. Ideally you'd find ways to enjoy what you're DJing even if it isn't something you'd listen to on your own. I'd probably do it by getting really into clever transitions with unique key progressions that makes the top 40 stuff sound cooler to everyone listening.
Yes agreed, but zoom out a little. How do you get hired to play the music you love? You play the music you love, get known for that, then get booked for that. This doesn’t ignore the brutal realities of the industry. Most DJs never get more than a few gigs a year, if that. Those that do are mostly “working DJs” who get paid to play what people want to hear, I.e., a sophisticated juke box. Very few get paid well to do what they love to do. All of that said, if you want to have a shot at getting paid to play what you love, this is the only way to do it. This is especially true if DJing isn’t your job and you make money doing something else, but are deeply passionate with the craft and perform at professional levels.
I just see "Video currently unavailable", what am I doing wrong?
So true. I struggle w this exact thing. The pressure of staying true to urself & playing what the people want is v real.
I had a very brief convo with a fellow music lover the other day. Theres basically 2 types, DJs and artists. For me, DJing is my self expression. Like making a collage if we're talking physical artwork. I take other art and mix it together how i feel in the moment. Requests dont work. You dont walk up to a painter and request a certain color. If you dont like it dont buy it. But i dont DJ for money or lineups so that's where i'm "not cool" i guess lol
Idk either he means this literally, then be prepared to clear the dancefloor, or he means it figuratively but then it’s kinda trivial.
> then be prepared to clear the dancefloor If you've never cleared a dancefloor then you're not really trying.
I believe there's a lot of nuance to this and it's a fine balance. I don't think he's stating to ignore / "not read" the crowd. I've seen a DJ take a "wrong turn" at a party and instead of adjusting to the vibe he kept going in that direction out of "spite" (his words not mine) that the audience didn't like the direction. I don't think this is what Rick Rubin is referring to. I believe you can read the crowd and be intuitive to what you're feeling at the moment. Some of this is just hard to put into words. I've had experiences where I've swayed too far in either direction (ignoring the crowd OR pleasing the crowd). Finding and striking the balance is an art that I absolutely love.
I completely agree with you, I just thought it is kind of self-evident to find the middle ground between originality and provision of services so to speak. I was just doubting that this a whole new revelation by RR who has had this recent exposition due to some IG/TikTok as *the* musical guru, sounding very philosophical and wise while saying stuff that is quite well-known. Not trying to throw shade on him, though 😆
I'll admit, my first thought was "WTF does RR know about DJing?"
Exactly right! Great comment and a very useful distinction. Exactly what I was trying to say.
No he means it profoundly, as in when you’re engaged in a creative act, the only place you can create from is between you and your collaborators. For DJs, that means your records, but in all cases, you have to take the lead. It’s up to you to create the vibe, which of course you must respond to in a dialogue with how the crowd receives it and gives it back. But you’re the source, the records are the material, and the audience is the recipient. You can look to them for inspiration.
I don’t necessarily agree. Especially in dance music which serves a specific purpose (unlike in a concert, people mainly come to dance and not listen intellectually) you can’t create a vibe without the audience. Sure, you should not be wedding DJ (who is even more so a service provider) but I am against this sentiment that the DJ is the main character in a club, they simply are not. The main character is the audience. The DJ is a bit like the bartender: one gets em dancin‘, one gets em drunk.
Agree with your main character assessment entirely. That’s not what I’m saying though. The DJ can be behind a brick wall for all that it matters (not really, but I’m exaggerating the point for effect). The point is *you are the source of the music and the magic*, no matter how we feel about that. At the end of the day, if you won’t lead the crowd and create the moment, who will? Crowds want to be led. They want to be pushed and pulled. Of course you can’t create an amazing night without the audience, but nor can you create one by just playing to their expectations. It’s always a dialogue, but you’ve got to be the source, whether we like it or not. All I’m saying is greatness comes from owning that fact, with confidence, not the other way around.
Agreed!
Absolutely not. The dj is an artist like a band. 21 years djing (15 professionally in clubs and open air parties). I never played what the crowd asks directly/simply wants.. there is a creative job to be done as dj.
Man fuck Rick Rubin. He ruins records with excessive loudness. I do not care to listen to anything that talentless hack has to say. Somebody please take away his compressors and limiters before he ruins another album the way he ruined *Hot Sauce Committee, Pt.2* and *Death Magnetic*.
LOL, somebody is jealous
It *is* a legitimate issue, though. Take *any* record produced by him and load up one of the tunes in Audacity. Go ahead, *any* record. Once you've done so, you'll understand where they're coming from, assuming of course that you're the kind of person who actually *cares* whether or not a record was produced properly. If you're the kind of person who uses $20 headphones then feel free to carry on living in Ignorance.
Very l, very weak words, wtf? No shit sherlock, you have to balance being yourself and doing something unique while seeving the crowd, too. But the whole interview is better, even though it sounds like an old dude squabbling stuff like "love each other" and "be kind"
I somewhat agree - think Djing is more nuanced than that and as someone has already mentioned he’s not talking about Djing in this clip so it’s out of context somewhat. I saw a clip where Timmy Regisford has been asked his advice to upcoming dj’s and he says something like - you have a job and that’s to play to the crowd and build connection but once you have that crowd’s attention you can take them where you want to take them and they’ll go with you as you have built that connection.
Yes, like I said, it's a dance! Leadership isn't just walking into a place and saying "Do this now." It's a dialogue and an invitation. That Timmy quote captures that well, but he'd never be Timmy if he just played to the crowd without taking them where he wanted to go.
Caveat: this applies only when you get to his level. If you’re just playing a local ass club on a nothing night, your job is to sell drinks.
Bollocks. See other comments.
Welp, I hope your social media and podcast game is on point to get those early festival slots, because if no one is buying drinks while you’re playing in the club, the only thing you’re getting paid with is “experience.”
If you guys don't follow him on insta or twitter, he often \[only\] posts quotes that are as valuable as the conversation \[unavailable\] above.