Disc jockey

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A disc jockey (also disk jockey or DJ) is a person who selects and plays prerecorded music for an audience. Many DJs also speak to the audience, either to give the names of the songs and information about the performers (radio DJs) or to rap or chant along with the music (reggae DJs).

There are several types of DJs: radio DJs play music that is broadcast on AM, FM, shortwave or digital radio stations; club DJs select and play music in a club, disco, a rave, or even a stadium; hip hop disc jockeys select, play and create music with multiple turntables as a hip-hop artist and/or performer, often backing up one or more MCs; a reggae disc jockey (deejay) is a vocalist who raps, toasts, or chats over pre-recorded rhythm tracks; and mobile disc jockeys travel with mobile sound systems and play from an extensive collection of pre-recorded music.

The term disc jockey was first used to describe radio announcers who would introduce and play popular gramophone records. These records, also called discs by those in the industry, were jockeyed by the radio announcers, hence the name disc jockey, which was soon shortened to DJs or deejays. Today, there are a number of factors, including the selected music, the intended audience, the performance setting, the preferred medium, and the development of sound manipulation, that have led to different types of disc jockeys. However, today there are many different kinds of 'DJ's' and it does not always mean 'disc jockey' in the traditional sense, for example turntablist DJ's use actual 'discs' whilst radio DJ's may use a number of sound sources including music files, CDs, jingles, and other pre-recorded media.

The equipment needed to DJ consists of:

1. Sound recordings in a DJ's preferred medium (eg. vinyl records, compact discs, computer media files)
2. A minimum of two devices to play sound recordings, for alternating back and forth to create a continuous playback of music (e.g. record players, compact disc players, computer media players such as an MP3 player)
3. A sound system for amplification or broadcasting of the recordings (e.g. portable audio system, PA system) or a radio broadcasting system.
4. A DJ mixer, an electronic two-channel mixer with a crossfader used to smoothly go from one song to another (using two or more playback devices)
5. A microphone, so that the DJ can introduce songs and speak to the audience, and
6. headphones or a monitor speaker, which is used to listen to one recording while the other is playing, without outputting the sound to the audience.

Other equipment can be added to the basic DJ set-up (above) providing unique sound manipulations. Such devices include but are not limited to:

1. Electronic effects processors (delay, reverb, octave, equalizer, chorus, etc). Some club DJs use a suboctave effect which creates a very low bass sound and adds it to the mix.
2. A computerised performance system, which can be used with timecode encoded vinyl/CD content to manipulate digital files on the computer in real time.
3. Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.
4. Special DJ digital controller hardware can manipulate digital files on a PC or laptop, by using midi signals
5. Samplers, electronic musical keyboards (synths), or drum machines.

Several techniques are used by a DJ as a means to better mix and blend prerecorded music. These techniques primarily include the cueing, equalization and audio mixing of two or more sound sources. The number, complexity, and frequency of special techniques depends largely on the setting in which a DJ is working. For instance, radio DJs are less likely to focus on music-mixing technique than club DJs, who rely on a smooth transition between songs (using techniques such as beatmatching, phrasing, and slip-cueing) to preserve energy on a dancefloor. Turntablism introduces the use of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (though turntablism is often considered a use of the turntable as a musical instrument, rather than a tool for blending prerecorded music). Many professional DJs use harmonic mixing to choose songs that are in compatible musical keys.

By definition, the role of selecting and playing prerecorded music for an intended audience is the same for every disc jockey. The selected music, the audience, the setting, the preferred medium, and the level of sophistication of sound manipulation are factors that create a number of different types of deejays. The following is a list of the most common types of disc jockeys, along with notable examples of each, listed in chronological order by birth.

A radio disc jockey plays music that is broadcast across radio waves, AM and FM bands or worldwide on shortwave radio stations. Radio DJs are notable for their personalities. Often due to terrestrial radio using program directors/music directors to generate the playlist, present-day radio DJs do not typically pick the music to play at stations. Emceeing is their primary duty.

Christopher Stone (1882–1965), became the first disc jockey in the United Kingdom in 1927. Martin Block (1901-1967), the first radio disc jockey to become a star, inspired the term "disc jockey". Alan Freed (1922-1965), became internationally known for promoting African-American Rhythm and Blues music in the United States and Europe under the name of Rock and Roll. In 1947 Jimmy Savile (born 1926), British DJ and television personality, became the first ever DJ to use twin turntables for continuous play after paying a local metalworker to weld two domestic record decks together. Jack Armstrong (born 1946) worked at many radio stations over the US, including 50,00 watters like WKYC, Cleveland; WMEX, Boston; CHUM, Toronto; WKBW, Buffalo, and KFI, Los Angeles. He was once listed in the Guinness Book Of World Records as the world's fastest talking human.

Dick Clark (born 1929), host of American Bandstand, television's longest-running music/variety program, as well as a number of nationally syndicated radio shows. Casey Kasem (born 1932), disc jockey and music historian, host of the long-running radio series American Top 40. Also the voice of Shaggy in the Scooby-Doo cartoon series. Wolfman Jack (1938-1995), drew upon his love of horror movies and rock and roll to create his raspy-voiced, howling persona, one of radio’s most distinctive voices, and the subject of the song by The Guess Who "Clap for the Wolfman" which featured spoken parts by him.

Bill Randle (real name: William McKinley Randle, Jr) (1923-2004), former famous and distinguished Detroit, New York & Cleveland DJ who was intricate and responsible for introducing Elvis Presley's career on radio and TV in the 1950s; first on the Jackie Gleason/Dorsey Brothers' Stage Show television program in 1955 & 1956; helped introduced big names of the 20th century like Pat Boone, Johnny Ray, The Four Lads, Tony Bennett, and literally scores of other famous pop-icons of the past; true genius in what he did in his life and for others in radio, music business, as attorney of law, higher education, for his country in general, and for the quality and integrity of man-kind. John Peel (1939-2004), one of the original DJs of UK's Radio 1 in 1967, known for the extraordinary range of his taste in music, and for championing unknown musical artists.

Gary Perkins (1937-1991), a man of major importance to the industry who began his radio career in 1957 at Midland Texas' KCRS where Roy Orbison and Buddy Holly used to drop off their records. He later rose to fame in the early to mid 1970s for changing the face of country music by playing the likes of Paul McCartney, Elton John and The Eagles along side the country standards. Howard Stern (born January 12, 1954). "King of All Media" The original "shock jock", Though controversial, he is one of the highest-paid radio personalities in the United States and the most fined personality in radio broadcast history. On October 6, 2004, Stern announced on his show that he signed a five-year deal with Sirius Satellite Radio.

Mark Simone the New York based radio host was a disk jockey on WPIX-FM in the 1970s, hosted an afternoon drive show on WNEW-AM in the 80's and currently hosts a music show on WABC Larry Lujack "Super Jock" a Top 40 Music radio disc jockey who was a precursor to the shock jocks. Charlie Tuna is Los Angeles-based DJ who is well known for his top-40 show played for the American military worldwide. Johnny Walker (1948-2004), Baltimore, Maryland based DJ (1974-1987), early shock-jock and Baltimore icon. William B. Williams - VH1 DJ and National Radio 2006 Hall of Fame inductee^{[1] [2]} DJ Manian is a German DJ who is known for his remixes and projects like Cascada or Tune Up. David Rodigan is a British DJ who is famous for playing reggae music worldwide.

Other DJs include Robert W. Morgan, Rick Dees, Machine Gun Kelly, Dan Ingram, Cousin Brucie, Don Imus, Scott Shannon, Bobby Ocean, Don Steele, Jo Whiley, George "Hound Dog" Lorenz, Sandy Beach, Joey Reynolds, Danny Nevereath, and Chris Moyles.

A person who selects, plays and mixes music in their own home to groups of their friends over a P.A. system or distributes it over the internet.

A club disc jockey is one that selects and plays music in a club setting. The setting can range anywhere from a neighborhood party or a small club to a disco, a rave, or even a stadium.

The main focus of club DJs is on the music they play. They build their sets by choosing tracks to control the energy level of the crowd and use beatmixing (or "beatmatching") technique for seamless transition between tracks.

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David Mancuso (1944- ) was the founder of New York City's first underground party, called The Loft. Francis Grasso (1948-2001) Popularized several new disc jockey techniques, including beatmatching, slip-cueing and programming. Larry Levan (1954-1992) was an early and prolific re-mixer and the DJ at the 1970s discotheque The Paradise Garage. Mark Kamins is a DJ/mixer/producer from the New York club scene who played in Danceteria, Studio 54, Underground, and other notable clubs. Frankie Knuckles (1955- ) helped to develop and popularize the electronic, disco-influenced dance music style called house music.

Paul Oakenfold (1963- ) is British record producer and remixer. Tiesto (1969- ) One of world's leading trance music DJs, voted 'No. 1 DJ in the World' for the third consecutive year in 2004 by DJMag's top 100 DJ list. Stereo Headz (2006- ) is a duo of Dj's/Producers, Dj Louis and Mark Anthony. Keoki (1969- ) is a techno musician, portrayed in the 2003 film Party Monster. Paul van Dyk (1971- ) a trance DJ who earned DJMag's top 100 DJ list No. 1 DJ award in 2005 and again in 2006. Judge Jules (1965- ) One of the U.Ks top House/Trance DJs, who had a radio show on BBC Radio 1. Armin van Buuren (1976- ) Dutch Trance DJ/Producer, voted No. 3 DJ in the world by "DJMag's top 100 DJ list" 3 years in a row 2003-2005; currently No. 2. Carl Cox (1962- ) a techno DJ. Tall Paul (1971- ) a Trance DJ in the UK; in 1998 he was voted "Muzik" DJ of the Year. Ferry Corsten (1973- ) a Dutch trance producer, DJ and remixer, considered one of the pioneers in the genre. Erick Morillo (1971- ) American DJ, music producer and record label owner. Fatboy Slim (1963- ) British DJ.

See also: Category:Club DJs

A hip-hop disc jockey is a DJ that selects, plays and creates music as a hip-hop artist and/or performer, often backing up one or more MCs. Hip-hop DJs do turntablism, the art of manipulating sounds and creating music using phonograph turntables and an audio mixer. DJ Babu has defined a turntablist as "One who has the ability to improvise on a phonograph turntable. One who uses the turntable in the spirit of a musical instrument;" while the Battlesounds documentary film suggests a definition of :"A musician, a hip-hop disc jockey who in a live/spontaneous situation can manipulate or restructure an existing phonograph recording (in combination with an audio mixer) to produce or express a new composition that is unrecognisable from its original ingredients."

Hip-hop turntablist DJs use turntable techniques like beat mixing/matching, scratching, and beat juggling. Turntablism is generally focused more on turntable technique and less on mixing. Some turntablists seek to have themselves recognized as musicians capable of interacting and improvising with other performers.

Jamaican-born DJ Kool Herc (born 1955) was the inventor of breakbeat technique; he is considered to be "the father of hip hop culture". Grandmaster Flash (born 1958), one of the early pioneers of hip-hop DJing, cutting, and scratching. Created the Quick Mix Technique, which allowed a DJ to extend a break using two copies of the same record; essentially invented modern turntablism. Afrika Bambaataa (born 1957 or 1960), instrumental in the development of hip-hop from its birth in the South Bronx to its international success. He also created the first hip-hop track to feature synthesizers; "The godfather of hip-hop"

Jazzy Jay (born c. 1962), pioneering DJ and co-founder, with Rick Rubin, of Def Jam Records. DJ Jazzy Jeff (born 1965), of DJ Jazzy Jeff and the Fresh Prince (also backed Will Smith on his solo efforts). Jam Master Jay (1965-2002), founder and DJ of Run-DMC, one of the most innovative hip-hop groups of all time. DJ Clue (born Ernesto Shaw on January 8, 1975 in Queens, New York City) is a mix DJ known for his involvement in the mix tape circuit. He signed as an artist on Roc-A-Fella Records. Eric B. (born 1965), one half of duo Eric B. & Rakim, popularized the James Brown-sampled funky hip-hop of the late 1980s. Terminator X (born 1966), DJ of the highly influential hip-hop group Public Enemy. Before rapper, Redman put out albums as an MC, he DJed for several New York City groups and solo artists and even was the official DJ for a New York night club under the name DJ Red Dott. DJ Maj, a DJ for Gotee Records is arguably one of the most underrated DJ in the industry. Before joining Gotee Records, he would play in clubs and big events. He was the most successful DJs in his hometown.

DJ Lethal, the DJ for Irish hip-hop group House of Pain who subsequently became the DJ for Limp Bizkit. DJ Qbert (born 1969), founding member of the turntablism group the Invisibl Skratch Piklz and three-time winner of the International DMC Award.Mix Master Mike (born 1970), skilled DJ of hip-hop group Beastie Boys, three-time winner of the International DMC Turntablism Award. The X-Ecutioners, a turntablist band with several collaborations with groups and artists, including Linkin Park and Xzibit. DJ Premier (born 1966), one of the duo Gang Starr. He also featured with many famous Hip-Hop artists like Nas, LL Cool J, Rakim and many others. See also: Category:Hip hop DJs

In reggae terms, the deejay is traditionally a vocalist who would rap, toast, or chat to a "riddim". The term "selector" is reserved for the person who performs the traditional function of a DJ, though he does not always play the music. He often just selects the record and passes it to the mixer who plays it over the sound system.

File:Mobiledj.jpg

Mobile Disc Jockeys are an extension of the original Radio disc jockeys.They travel with or go on tour with mobile sound systems and play from an extensive collection of pre-recorded content for a specific audience. Today there are a variety of Mobile Disc Jockey business models, including full-time, part-time, multi-operator, and single-operator companies.^[3] Mobile DJs should be able to play a client’s specific requests by incorporating them into a repertoire of party favorites (this is called "reading" the crowd).^[4] In the 2000s, mobile DJs need a large selection of music, professional-grade equipment, good organizational skills, vocal talent as an MC, mixing skills, quality lighting, insurance for liability, and on-site back-up equipment.^[4]

In the 2000s, the role of the Mobile DJ has expanded. Many Mobile DJs have assumed additional responsibilities to ensure an event's success. These responsibilities include the roles of MC, event organizer and coordinator, lighting director, and/or sound engineer.^[3]

In the past, Mobile DJs utilized vinyl records or cassettes. During the Disco era of the 1970s, demand for Mobile DJs (called Mobile Discos in the UK) soared, and top Disc Jockeys travelled with hundreds of vinyl records and cassette tapes. The heavy equipment required roadies to set up. While many Club Disc Jockeys still use vinyl, most Mobile DJs currently use Compact discs, computer-based files (such as MP3s]), or a combination of sources. In addition, professional-grade equipment created by a variety of companies expressly for Mobile DJing has allowed for faster step-up and break-down, as well as improved quality of performance.^[4]

The audiences Mobile DJs play for may be at one of many different types of events including wedding receptions, bar and bat mitzvah receptions, company parties, school dances, anniversaries, birthdays, etc. Mobile DJs also perform in public at bars / taverns, nightclubs, or even at block parties.^[3] The definition and responsibilities of a Mobile DJ have changed since Bob Casey's first two-turntable system for continuous playback was utilized for sock-hops in 1955.^[5]

Bands had long dominated the wedding entertainment industry, but with the advent of the less expensive and more versatile Mobile DJ, their market share dwindled. Mobile DJs offer the advantage of being able to play music in a wide variety of styles by a wide range of artists, as they use the artists’ own original recordings. In addition, audiences or planners that formerly could not afford music for their event are now able to hire a Mobile DJ while still staying within their budget.^[3]

In the 1980s and 1990s, Mobile DJs began to form and expand associations and create professional business networks, which now include annual trade shows and Internet discussion forums. Today, many Mobile DJs also promote themselves as an event’s planner, organizer, and MC (Master of Ceremonies). Working closely with their customers, their guests, and other vendors (such as venue staff and photographers / videographers), today’s professional Mobile DJs strive to provide quality entertainment that fits the event in question in terms of style and performance.^[3]

In the 1990s, Compact Disc became the standard, equipment manufacturers made equipment that was smaller, easier to use, and of better quality. The introduction of dedicated Mobile Disc Jockey Trade publications such as DJ Times magazine, followed by Mobile Beat magazine were founded in this era as well. These publications helped to spread the word about the emerging technologies and would publish informational articles that were helpful to the Mobile Disc Jockey.^[3]

To improve the industry's image and create networking opportunities, Mobile DJs have formed professional associations. The Canadian Disc Jockey Association (CDJA) was one of the original associations formed in 1976 as a not-for-profit Trade association for Disc Jockeys across Canada. It was joined by a much broader online association called the Canadian Online Disc Jockey Association (CODJA), founded by Glenn Miller and Dennis Hampson. Additionally in the United States, the American Disc Jockey Association (ADJA) was formed in the 1980s, followed by the National Association of Mobile Entertainers in the late 1990s.^[3]

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This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Disc jockey" – news · newspapers · books · scholar · JSTOR (November 2006) (Learn how and when to remove this message)

Template:Globalize/USA Throughout the 1950s, payola payments by record companies to DJs in return for airplay was an ongoing problem. Part of the fallout from the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly. Today, very few radio DJs in the United States have any control over what is played on the air. Play lists are tightly regulated, and the DJ is often not allowed to make any changes or additions. The songs to be played are usually determined by computerized algorithms and automation techniques, such as voice tracking, allowing single DJs to send announcements across many stations.

A DJ might announce a song as a request even though it was already set to appear in the play list. It is not unusual for modern radio DJ's to get a request for a song, if they are allowed to play a request, which is rare, and download it from a free download site such as LimeWire;^{[citation needed]} then they enter it into the computer play list to make the listener happy. With modern computers and high-speed internet access, it is possible to fulfill any reasonable request in a matter of minutes. This is a little-known legal use for "free" music downloads, as all radio stations must pay licensing fees to ASCAP and Broadcast Music Incorporated (BMI). Economically, this formula has been successful across the country.

However, some music aficionados seek out freeform stations that put the DJs back in control, or end up dumping terrestrial radio in favor of satellite radio services or portable music players. College radio stations and other public radio outlets are the most common places for freeform play lists in the U.S.

In 1857, Leon Scott invented the phonoautographin France, the first device to record sound. In 1877, Thomas Alva Edison invented the phonograph cylinder, the first device to playback recorded sound, in the United States. In 1887 - German-American Emile Berliner invented the gramophone, a lateral disc device to record and playback sound. In 1889, coin-slot phonograph machines, the public's first encounter with recorded sound, begin to be mass-produced. The earliest versions played only a single record, but multiple record devices, called jukeboxes, were soon developed.

In 1892, Emile Berliner began commercial production of his gramophone records, the first disc record to be offered to the public. From the mid-1890s to early 1920s, cylinder and disc recordings, and the machines to play them on, are widely mass marketed and sold. The disc system gradually becomes more popular due to its cheaper price and better marketing. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history when he plays Christmas music from Brant Rock, Massachusetts.

In the 1910s, regular radio broadcasting begins, using "live" as well as prerecorded sound. In the early radio age, content typically includes comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s - "Juke-joints" became popular as a place for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station. In 1929, Thomas Edison ceased phonograph cylinder manufacture, ending the disc and cylinder rivalry.

In 1934, American commentator Walter Winchell coined the term "disc jockey" (the combination of "disc", referring to the disc records, and "jockey", which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. In the 1940s, Musique concrète composers used portions of sound recordings to create new compositions. This is the first occurrence of sampling.

In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherd's in Otley, England. In 1947, he paid a local metalworker to weld two domestic record decks together and became the first DJ to use twin turntables for continuous play. In 1947, the "Whiskey-A-Go-Go" nightclub opened in Paris, France, considered to be the world's first discothèque, or disco (deriving its name from the French word, meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Discos began appearing across Europe and the United States. From the late 1940s to early 1950s, the introduction of television eroded the popularity of radio's early format, causing it to take on the general form it has today, with a strong focus on music, news and sports.

In the 1950s - American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records featuring hit singles on one turntable, while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. 1955 - Bob Casey, a well-known "sock hop" DJ, introduces the first two-turntable system for alternating back and forth between records, creating a continuous playback of music. In the late 1950s - Jamaican sound systems, a new form of public entertainment, are developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector", who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting". These parties quickly became profitable for the promoters, who would sell admission, food and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

In the mid-1960s, nightclubs and discotheques continue to grow in Europe and the United States. However, by 1968, the number of dance clubs started to decline. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between back-to-back records with matching beats, or tempos. Grasso also developed slip-cueing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record. During the late 1960s - Most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that are modeled after Jamaican sound systems gain popularity in Europe and in the boroughs of New York City.

During the early 1970s, the Vietnam War, oil crisis, and economic recession had a negative impact on dance clubs and disc jockeys. The total number of clubs and DJs dropped substantially, and most of the dance clubs that survived became underground gay discos. In 1973 - Jamaican-born DJ Kool Herc, widely regarded as the "godfather of hip hop culture", performed at block parties in his Bronx neighborhood and develops a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or break. Turntablism, the art of using turntables not only to play music, but to manipulate sound and create original music, began developing.

In 1974 - Technics released the first SL-1200 turntable, which evolves into the SL-1200 MK2 in 1979, currently the industry standard for deejaying. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn", which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid 1970s - Hip hop music and culture begins to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of hip hop culture are MCing (rapping), DJing, graffiti, and breakdancing.

In the mid-1970s, the soul-funk blend of dance pop known as Disco took off in the mainstream pop charts in the United States and Europe, causing discotheques to experience a rebirth. Unlike many late 1960s, clubs, which featured live bands, discotheques used the DJ's selection and mixing of records as the entertainment. In 1975 - Record pools begin, enabling disc jockeys access to newer music from the industry in an efficient method. In 1976, American DJ, editor, and producer Walter Gibbons remixes "Ten Percent" by Double Exposure, one of the earliest commercially released 12" singles (aka "maxi-single"). In 1977 - Hip hop DJ Grand Wizard Theodore invents the scratching technique by accident. In 1977 - New York's Studio 54 discotheque grosses $7 million in its first year of business (which is roughly $21 million in today's dollars after adjusting for inflation). In the same year, the motion picture Saturday Night Fever popularizes discotheques and becomes one of the top-10 grossing films in history (at the time).

In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song. In 1979, an anti-disco protest in Chicago's Comiskey Park marks the major backlash against disco amongst rock music fans. This is considered by some to be the year that disco "died", although the music remained popular for several more years, particularly in underground clubs and in Europe, where the subgenres Euro Disco and Italo Disco emerged.

1981 - Cable television network MTV is launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forces many nightclubs to either close or to change entertainment styles, such as by providing MTV style video dancing or live bands. In 1982, the song "Planet Rock" by DJ Afrika Bambaataa is the first hip-hop song to feature synthesizers. The song melded electronic hip hop beats with the melody from Kraftwerk's "Trans-Europe Express". In 1982, the compact disc reached the public market in Asia and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution.

In the early 1980s, the disco-influenced electronic style of dance music called House music emerged in Chicago. The name was derived from the Warehouse club in Chicago, where the resident DJ, Frankie Knuckles, mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983 - Jesse Saunders releases the first house music track, "On & On". In the mid-1980s - New York Garage emerges at DJ Larry Levan's Paradise Garage nightclub in New York. The style was a result of the club DJs who would unsuccessfully try to duplicate the Chicago house sound, for example, leaving out the accentuated high-hats.

During the mid-1980s - Techno music emerges from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference starts in Fort Lauderdale Florida and becomes the premier electronic music conference for dance music disc jockeys. TRAX Dance Music Guide is launched by American Record Pool in Beverly Hills, the first national DJ-published music magazine; created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986 - "Walk This Way", a rap-rock collaboration by Run DMC and Aerosmith, becomes the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song is the first exposure of hip hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences.

In 1988, the acid house scene emerges in the UK. Originally called "acid parties" for a select few, the events grew in size and popularity, eventually spreading throughout England, Europe, the United States, and the rest of the world. During the early 1990s - The rave scene grows out of the acid-house scene. Many elements of the rave scene, such as baggy pants and break dancing, appear to be inherited from the Northern Soul scene of the UK approximately 15 years earlier. The notion of "trainspotting", for example, derives from Northern Soul's emphasis on researching and collecting rare & obscure records; while preventing other DJs from stealing titles via "white labels". The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities.

During the early 1990s - The compact disc surpasses the gramophone record in popularity, but gramophone records continue to be made (although in very limited quantities) into the 21st century, particularly for club DJs and for local acts recording on small regional labels. During the mid-1990s - Trance music, having run rampant in the German underground for several years, emerges as a major force in dance music throughout Europe and the UK. It is to become arguably the world's most dominant form of dance music by the end of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards commercialistic song structure.

In 1991 - Mobile Beat first publishes becoming the first magazine specifically targeted at the professional mobile disc jockey. In 1992 - MPEG which stands for the Moving Picture Experts Group, releases The MPEG-1 standard, designed to produce reasonable sound at low bit rates. MPEG-1 Layer-3 popularly known as MP3 (a Lossy format) will revolutionize the digital music domain. In 1992 - Promo Only, a popular music service for disc jockeys is launched. In 1993 - The first Internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the radio signal is relayed over the Internet, it is possible to access internet radio stations from anywhere in the world. This makes it a popular service for both amateur and professional disc jockeys operating from a personal computer.

In 1995, the first full-time, Internet-only radio station, Radio HK, begins broadcasting the music of independent bands. In 1995 - ProDJ.Com launched by ProDJ Publishing. In 1996 - Mobile Beat has its first national mobile DJ convention in Las Vegas. During the late 1990s - Nu metal bands such as KoЯn, Limp Bizkit, and Linkin Park reach the height of popularity. This new subgenre of alternative rock bears some influence from hip-hop, because rhythmic innovation and syncopation are primary, often featuring DJs as band members. As well, during the late 1990s, various DJ and VJ software programs are developed, allowing personal computer users to deejay or veejay using his or her personal music or video files.

In 1998, the first MP3 digital audio player is released, the Eiger Labs MPMan F10. In 1999, Shawn Fanning releases Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announces MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to "burn" their own compilation CDs of "usable tracks", instead of having to cart their whole CD collections around to their gigs.

In 2001, Apple Computer's iPod is introduced and quickly becomes the highest selling brand of portable digital mp3 audio player. The convenience and popularity of the iPod spawns a new type of DJ, the self-penned "MP3J". First appearing in certain East London clubs, and spreading to other music scenes, including New York City, this new DJ scene allows the average music fan to bring two iPods to an "iPod Night", plug in to the mixer, and program a play list without the skill and equipment demanded by a more traditional DJ setup, and without needing to bring a heavy case of CDs. In 2006, the concept of DJ had its 100 year anniversary. In 2006, Mobile Beat Magazine and ProDJ.Com merged, creating a new resource for mobile disc jockeys.

• Poschardt, Ulf (1998). DJ Culture. London: Quartet Books. ISBN 0-7043-8098-6
• Brewster, Bill & Broughton, Frank (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-6 (UK edition).
  
• Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970-1979 . Duke University Press. ISBN 0-8223-3198-5.
• Assef, Claudia (2000). Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil. São Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.
• Graudins, Charles A. How to Be a DJ. Boston: Course Technology PTR, 2004.
• Zemon, Stacy. The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service, Second Edition. St. Louis: Focal Press, 2002.
• Broughton, Frank and Bill Brewster. How to DJ Right: The Art and Science of Playing Records. New York: Grove Press, 2003.

• Electronic music
• Technics
• Technics SL-1200
• DJ digital controller
• Hip hop music
• Nightclub
• VJ (Video Jockey)
• Turntablism
• Record player
• Gramophone record
• Disc or disk (spelling)
• Discotheques

• DJs at Curlie
• Technics DJ Turntables - Exploaded View Diagrams

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