Development of Disc Jockeying
I met with a disc jockey in Maryland last week for a paper I was writing for my music class. He works as a wedding DJ in Maryland. He was nice enough to educate me with from the technicalities of terms to his experiences with his job. We started off with a tour. He compared jockeying with writing. Both needs immersion to understand the nature of the subject you’re writing or jockeying for.
Disc jockeying is classified into two categories. The first is to where they perform and the second is the type of music they perform.
The first category is comprised of three types of jockey: radio jockey, club jockey, and music video jockey. Radio jockeys plays music that is broadcasted for AM and FM media while music video jockeys are jockeys we see in music channels playing songs for watchers. Club jockeys are jockeys who play live music in clubs and bars.
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The second category is divided into two: the Reggae jockey and the Hip-hop jockey. The Reggae jockey tells a story thru the music his playing. He sets moods in the party and expresses the theme of the occasion thru the selections of music he plays. A hip-hop jockey in contrast plays random vibrant music to awaken the crowd. His selection of songs is mainly for club dancing.
Today, disc jockeying has evolved to include mobile disc jockeying. As its name defines it, mobile disc jockeys are jockeys that go on a tour with mobile sound systems in tow. Their play lists involve a wide selection from different pre-recorded music which they mix. They play in various types of events such as wedding, debut, corporate parties, and bar. Lately, their services have evolved into offering mobile DJ karaoke. as a result of a phenomenon in the Philippines called “videoke”.
Filipinos are singers by heart. Though not every one of them were gifted with nice voice, singing has become a favorite past time for them. A brilliant company came up with software in which the singer only needs to follow the highlighted words in the video to be able to sing in tune with the music. Hence, the creation of mobile DJ videoke was born. It was their local version of mobile DJ karaoke.
Disc jockeying as the DJ thought me, needs passion to commence the right blending and mixing of music. More than just knowing how to use the equipments, you have to have the ear and heart for it.
Andrew Beene is a graduate student of music doing her dissertation paper about local music cultures in Maryland like For more inf ormation, see http://www.djran15.com
8/12/1929 — 3/25/2006 Buck Owens was born in Sherman, Texas, on Aug. 12, 1929. In 1937, his sharecropper family of ten moved to Mesa, Arizona in an attempt to escape the Dust Bowl. At age sixteen, he was performing in clubs and on radio. In 1951, Buck moved to Bakersfield, California, a hot bed for country music. Bob Wills worked there and both The Maddox Brothers & Rose and Ferlin Husky called it home. Buck worked nights at the Blackboard Club, his home base from 1951 to 1958. He also commuted to the Capitol Record studios in Los Angeles where he worked as a backup musician for Tennessee Ernie Ford, Sonny James, Wanda Jackson, Faron Young and Tommy Collins. Buck first recorded as Corky Jones for the small Pep and Chesterfield labels (1955). Owens signed a contract with Capitol Records in 1957 and his initial sessions under the command of AR executive Ken Nelson flopped, so Owens moved to Washington to pursue a radio career. In 1958, Buck returned to the Capitol studios and recorded four original songs, including “Second Fiddle.” In 1959 he began hosting his own live TV show over KTNT (Tacoma). Among the featured talents was Loretta Lynn. There he met a fiddler by the name of Don Rich. Don would become a staple in the Buckaroos band and on Buck’s best recordings. After joining Capitol, Owens formed his own band. The group had no name until one of Buck’s early bass players, a talented Bakersfield musician named Merle Haggard, dubbed them “The Buckaroos.” The success of …
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