Disc jockey
The phrase disc jockey first appeared in print within the pages of Variety magazine during 1941. Radio gossip columnist Walter Winchell coined the term back in 1935 to describe the radio work performed by Martin Block. Originally the word disc referred strictly to shellac and later vinyl records played on phonographs. These early personalities introduced recorded music to listeners over the airwaves. The title eventually evolved into an all-encompassing label for anyone mixing audio from cassettes or CDs today.
British radio disc jockey Jimmy Savile hosted his first live dance party in 1943 using a single turntable. Four years later he began welding two turntables together to form a basic console. In 1969 Matsushita released the SP-10 as the first direct-drive turntable available on the market. This machine eliminated belts and employed a motor to directly drive the platter where vinyl rested. Hip-hop DJs later adopted the Technics SL-1200 model starting in 1972 because its durable design allowed them to manipulate the record with scratching techniques. The Compact Disc format arrived in 1982 popularizing digital audio for the masses. By January 1998 N2IT demonstrated FinalScratch allowing control of MP3 files through special time-coded vinyl records. Pioneer DJ began producing the CDJ-1000 player in 2001 making digital recordings practical for traditional techniques. Modern controllers now mimic analog setups while running software like rekordbox on laptops.
Hip-hop DJ Kool Herc developed a style that became the blueprint for an entire genre during the early 1970s. He played records such as James Browns Give It Up or Turnit a Loose at block parties in the South Bronx from 1973 onwards. His technique called The Merry-Go-Round extended short percussive breaks into five-minute loops of fury. Meanwhile Germany developed a distinct global influence known as the Munich Sound during the disco era. Producers based in Munich including Giorgio Moroder pioneered a synthesizer-heavy hypnotic sound. A pivotal moment occurred with the fall of the Berlin Wall in 1989 creating a legal vacuum in abandoned factories. Clubs like Tresor and Bunker became crucibles for techno culture where DJs acted more like shamans leading crowds. This movement was epitomized by the Love Parade started by Dr. Motte in 1989 which drew an estimated 1.5 million attendees at its peak in 1999.
Club DJs play music at musical events such as parties held within bars or nightclubs. They mix recordings from two or more sources using different techniques to produce a non-stop flow of music. Radio DJs introduce and play music broadcasts on AM FM digital or Internet radio stations. Dancehall reggae deejays sing and toast recite poetry to an instrumental riddim instead of selecting records. Turntablists use turntables and DJ mixers to manipulate recorded sounds to produce new music entirely. Resident DJs perform at a venue on a regular basis often under agreement for specific times and dates. Mobile DJs carry their own portable audio systems to perform at gatherings like weddings or block parties. Bedroom DJs mix music in their rooms as a hobby rather than on professional stages.
A 2013 Sound on Sound article by Rosina Ncube stated that ninety-five percent of music producers are male. Sweden's first female disc jockey was Jill Wernström who appeared in 1971. Mark Katz wrote in 2007 that very few women do turntablism battles though the matter has been discussed for years. Rebekah Farrugia said in 2010 that the male-centricity of electronic dance music culture contributes to the marginalization of women. Despite these barriers artists and collectives now carve out spaces for themselves within EDM and DJ Culture. Notable figures include Alison Wonderland from Australia and Nina Kraviz from Russia who founded the Trip label. Peggy Gou leads the Gudu Records imprint while Charlotte de Witte runs KNTXT in Belgium.
Nightclubs constantly exceed safe levels of noise exposure with average sound levels ranging from 93.2 to 109.7 decibels. Three-quarters of DJs have tinnitus and face risks of tenosynovitis in their wrists and other limbs. Tenosynovitis results from staying in the same position over multiple gigs for scratching motion and cueing. This condition is related to a repetitive strain injury common among professionals. Gigs can last four to five hours in the nightlife industry resulting in potential complications like slouching or varicose veins. Prolonged standing causes joint compression muscle fatigue and cardiovascular disorders similar to issues faced by bartenders and security staff.
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Common questions
When did the phrase disc jockey first appear in print?
The phrase disc jockey first appeared in print within the pages of Variety magazine during 1941. Radio gossip columnist Walter Winchell coined the term back in 1935 to describe the radio work performed by Martin Block.
What year did Matsushita release the SP-10 direct-drive turntable?
Matsushita released the SP-10 as the first direct-drive turntable available on the market in 1969. This machine eliminated belts and employed a motor to directly drive the platter where vinyl rested.
Who developed the hip-hop DJ style known as The Merry-Go-Round?
Hip-hop DJ Kool Herc developed a style that became the blueprint for an entire genre during the early 1970s. He played records such as James Browns Give It Up or Turnit a Loose at block parties in the South Bronx from 1973 onwards.
Which country produced the Munich Sound during the disco era?
Germany developed a distinct global influence known as the Munich Sound during the disco era. Producers based in Munich including Giorgio Moroder pioneered a synthesizer-heavy hypnotic sound.
When was Sweden's first female disc jockey Jill Wernström active?
Sweden's first female disc jockey was Jill Wernström who appeared in 1971. Mark Katz wrote in 2007 that very few women do turntablism battles though the matter has been discussed for years.
What is the average decibel range found inside nightclubs?
Nightclubs constantly exceed safe levels of noise exposure with average sound levels ranging from 93.2 to 109.7 decibels. Three-quarters of DJs have tinnitus and face risks of tenosynovitis in their wrists and other limbs.