DJ's vs. Live
Bands: A History of Competition, A Future of Cooperation?
by
Rob
Wegner
November 2004
A BBC Radio 1
opinion forum asked its readers whether they prefer to watch
a live band or DJ (See BBC
Radio 1).
While the views appear to be evenly split, many responses clearly
highlight the public's perception of the differences between
DJ's and bands.
Since the 1920's,
DJ's have competed with bands for live performances. This month's
tip presents the history of this rivalry, while making suggestions
for future cooperation.
There are roughly
four significant historical events that exemplify this competition:
1) The 1920's:
ASCAP and BMI
The American
Society of Composers, Authors, and Publishers (ASCAP) was founded
in response to the decline of sheet music sales in lieu of record
sales. In other words, people that were earning a living writing
sheet music, as well as the musicians that played those songs
were threatened by the introduction of records and the disc jockey's
that played those tracks on the radio. ASCAP protected these
composers by threatening to sue any radio station that failed
to pay a licensing fee. Every time a song is played on the radio,
the author earns a residual payment. This practice continues
to this day, and is a major source of revenue for producers (ironically
this also includes DJ-producers) that have experienced declining
revenue due to MP3 downloads.
Broadcast
Music Incorporated (BMI) was formed by the broadcast industry to
mitigate ASCAP's power. Today, ASCAP and BMI are practically
sister organizations.
While it's hard
to imagine a song that's played on the radio (or club) as a live
performance -- in the eyes of ASCAP and BMI -- each "recorded
performance" equals a live appearance by that artist and
merits an artist residual via a licensing fee.
2) The Early-70's:
"Social Protest Rock"
As discussed
in the
history of the DJ,
the late-60's and early-70's (i.e., Vietnam War era) was a period
dominated by social protest rock. Live performance (Club) DJ
jobs were scarce. However, the growth of live bands and simultaneous
decline in DJ jobs was more a result of the "sign of the
times" rather than any genuine competition between DJ's
and bands.
3) The Late-70's
and Early-80's: "Disco Sucks"
Perhaps the greatest
manifestation of this rivalry is reflected in the "disco
demolition night" in Chicago's
Old Comiskey Park on July 12, 1979 (which just celebrated its 25th Anniversary).
Even though DJ's were not a target of this protest per se, the
"disco sucks" campaign was formed mostly due to the
fans of guitar rock resenting the growth of disco in the mid-to-late-70's.
DJ's were, after all, the predominant presenters and performers
of disco tracks. It should be noted that the disco demolition
night's organizer, Mike Veck, apologized in June
2001.
4) The Rise
of Electronic/House Music
When disco "died"
and money became tight for its investors, dance music producers
realized that it was cheaper to create tracks on a computer than
to hire session musicians (as was the case with disco). These
DJ-producers would evolve into "superstar" DJ's that
would tour the world presenting and performing their original
tracks alongside the tracks of other DJ-producers. By the late-90's,
"superstar" DJ's were often considered to be the new
"rock stars." Promoters were now booking and promoting
an increasing number of DJ's -- and a decreasing number of bands.
In addition to
the above, DJ's have competed with live bands for wedding gigs.
DJ's are also a less expensive entertainment alternative during
periods of economic decline. This means that -- during a bout
of reduced sales -- many clubs are forced to make the risky decision
of cutting the band(s) in favor of DJ's.
Ruthless Performers
It is very common
for DJ's to play sets during band breaks. Some DJ's may try to
steal the crowd's attention by playing the band's opening track
just prior to the band taking the stage (via a copy of the band's
playlist). Likewise, a wedding band may announce that "dessert
is now being served in the next room" just prior to taking
a break (leaving the DJ with a very empty room). While this kind
of ruthless behavior is rare, it does show that DJ's should try
to build bridges with bands.
Future Cooperation:
The DJ As A Musician
I don't need
to repeat the exhaustive evidence that supports the view that
DJ's are musicians. Many popular artists, such as Cassius, Morse
Code,
Limp Bizkit, BT, Basement Jaxx, Linkin Park, Fatboy Slim, and Roni
Size have integrated the DJ with other musicians and/or band
sets. DJ's Radar and Spooky are now performing with
symphony orchestras. We now have a two-credit
DJ class
in the Music Department at Scottsdale Community College. Many
colleges and music conservatories have established non-credit
DJ and/or turntablism classes. Moreover, the Grammy Awards has increased its recognition
of the work of DJ-producers and remixers. In other words, the
live-performance DJ is being integrated into the world's music
community at an increasing rate.
This means leaving
the perceived "DJ sub-culture" and joining the established
musician's organizations and advocacy groups. This means live-performance
DJ classes in the music departments of the major colleges
and universities -- and DJ's in music theory and composition
classes. This means DJ's in the musician's unions. This also
means an end to the petty competition between DJ's and bands.
In what may be
the future standard of clubbing, high profile European clubs
such as Farbric in London and Chibuku in Liverpool have integrated
DJ's with live bands. If these club's are setting a precedent,
then the message is clear: It is very likely that those DJ's
that can offer a live band with their performance will soon discover
more opportunities.
Related Links
Should We Hire a DJ or a Band?
DJs vs Bands
DJ or Live Band? How to Decide
Deciding Between a DJ and a Band
Industry
News
* The Russian
city of Belgorod has banned "immoral DJ's." The new
law states that DJ's must play music that meets the moral standards
of the community. To comply, DJ's will be required to have a
secondary education, and will be offered special courses designed
to bring DJ's into compliance (such as understanding Russia's
cultural laws). See BBC
News
* Is rap music
at a crossroads? A growing number of individuals are turning
away from current hip hop because they feel the music has become
stagnant. Citing over-commercialization, Jay-Z and DMX have announced
their retirement from the genre. See AZCentral.com
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