get ready · absent-mindedly quipped that i was having a great time, too, “and if your dj has a...
TRANSCRIPT
#210
SEPT
2019MOB I L E BEAT. C OM
Get Ready...
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PublisherRyan BurgerMobile Beat
Events DirectorJake Feldman
Editor-in-ChiefDan Walsh
Editorial Assistant / WriterRebecca Burger
Events Director EmeritusMichael Buonaccorso
P L A Y L I S TTHIS IS HOW WE DO IT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6
When Is a DJ Ready?By Joe Bunn
A DIFFERENT BE AT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8
Grounded: Bad for Kids, Good for DJsBy Stu Chisholm
MOBILE MATTERS�� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 12
Distinctly DifferentBy Matt Martindale
SCO OP � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 16
Roland DJ-707M Controller: Versatility on the GoBy Rachel Lynch
PRODJFILES � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 20
Disco Twitter Links Past and PresentBy Mike Cordeiro
FE ATURE � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 24
8 Steps to Transform Your Corporate CultureBy Magi Graziano
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ADVERTISERS
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Let’s discuss how to know a DJ trainee is ready to go out and perform for your company. Before we
get into it too much, though, let’s first take a look at our training process here at Bunn DJ Company.
Hands down, the best “training” you can do with anyone that wants to be a DJ, or is already a DJ, is letting them shadow you. When I say shadow you, yes, I mean YOU, the owner of the company. Sure, I want them to shadow several of my veteran DJs as well, but I definitely want them to come out with me as well.
It’s not just for their benefit. You can tell so much about a person when they shadow you. Are they a know-it-all? Do they take notes? Do they talk when you’re mixing? What are they wearing? Are they asking the right questions? When you ask them what they’d play next, what are they responding with? Shadowing can weed out people that aren’t serious too. I have taken several bar/club DJs with me that were just in it for the money. After seeing the amount of gear, prep, and MCing, many of them have never returned. Let’s face it, private events aren’t for every DJ...just the smart ones (wink).
The second part of training at our company is setting up a full system and having several days of intensive training, usually with myself and my right-hand man, Randy Bennett, as the “professors.” We run through every single element of our training manual. The day starts by talking about the chain of events when a lead comes in, how they get the lead and then how they “sell” to the client when the lead comes to them. We then go over the gear, making sure they know how to set up, how to troubleshoot, etc. Remember, I only hire experienced DJs, so most of them know all of this already. Next we move into DJing weddings: prepping, MCing, scripts, and so forth. Now keep in mind, this is usually taking place on several
long Sundays, but we make it fun. If you start early, order pizza for lunch and take a break at that time. If you start later, plan on taking the trainees out to dinner afterwards.
OK, so let’s say that the trainee has done really well over several weeks. They showed up on time for shadowing and training, they dressed well, they asked the right questions, they didn’t annoy you or the veteran staff. It’s time to start thinking about how to integrate them into your roster. I always start a new Bunn DJ off doing a non-wedding event, so that could be a pool party, corporate event, birthday, retail store, New Year’s Eve party, whatever.
This first show can tell you a lot about how they are going to be in the future. Did they get a good review? If the review doesn’t come, go ahead and reach out to the client and ask them. How else are you going to know how it went? You could go and shadow them, but I don’t think that’s a great move because it looks like you don’t
trust them, plus you are probably going to be out doing an event yourself anyway.
Also, what did they say about the event in their recap? Did they complain about being too hot/cold? Did they say nobody danced? These can all be warning signs. If you feel in your heart it went well, it probably did. The next move can be a bigger/better party. In other words, you keep moving them up the ladder until you are ready to turn them loose on someone’s biggest day: their wedding.
Listen, I’m not going to lie to you guys. I have definitely thrown some DJs “to the wolves” as they say. I wasn’t sure that they were totally ready, but I was willing to test them out. This was in the early stages of Bunn DJ Company when I was trying to grow and gain a reputation. A gamble? Heck yes! Would I do it now? Probably not. But sometimes you have to just trust your gut. But another thing I NEVER did was take a wedding booking and not have a qualified DJ ready for it. I would simply say “we are sold out.” I was never willing to compromise such an important event, and neither should you.
Remember, trust your heart about a new DJ. Start them with an easy one, and let them earn their way to weddings. Good luck with your training!
Joe Bunn started his DJ career over 30 years ago. His company has four offices and now does over 1000 weddings a year and another 400 private, corporate and charity events. He still DJs almost every weekend, but also helps other DJs grow their businesses as a consultant, writer, and speaker. Visit www.djjoebunn.com to learn more or purchase any of his products.
When Is a DJ Ready?DECIDING BASED ON PRACTICAL ASSESSMENT AND EXPERIENCE-BASED INTUITION
By Joe Bunn
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T H I S I S H O W W E D O I T
Like athletes, we need to get “up for the game”—or there’s
a pretty good chance that we’ll “lose” the event�
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A D I F F E R E N T B E A T
Grounded: Bad for Kids, Good for DJs
By Stu Chisholm
A D I F F E R E N T B E A T
Grounded: Bad for Kids, Good for DJs
HOW TO GET READY TO ROCK, EVEN IN ROUGH TIMES
By Stu Chisholm
Back in the ‘80s, I went to work sick. I was spinning at a local up-and-coming nightclub and there was no way to call in sick, so I decided to
soldier on and fight through it. Suffice it to say that, while nobody died and I didn’t send people scrambling to the exits, it was not my best night. Worse, my boss, the head DJ (and an egotistical nightmare) was in my audience.
When he called me on the carpet, I explained that, as sick as I was, I thought I had risen to the occasion fairly well. He disagreed. “When I come, I’m always ready to party,” he blustered.
While nobody is super human--we all can and will get ill on occasion—that memory made a comeback about three years ago while I was in school working toward a degree as a licensed massage therapist (LMT). Believe it or not, there are some amazing similarities between massage therapists and disc jockeys.
The most obvious one is that we’re always trying to help our clients forget their troubles for a while and feel better, the only difference being that DJs are doing it for many people at once, where an LMT is one-on-one.
What are the odds that if we, as DJs (or LMTs) are feeling bad, upset or distracted, it will impact our performance and, as a result, our client’s/audience’s enjoyment? If you said “100%,” you’d be absolutely correct. The simple truth is that we might fight through and maybe even come close, but it won’t be as good as it would be if our heads were completely in the game. It turns out that, even though he was being brash, my old boss had a point.
MENTAL WELLNESSLife happens. No matter who you are, and no matter how great your life may be, misfortune, accident, emergencies, drama and other obstacles occasionally cause us grief. Unless it lands us in the hospital, then the show MUST go on! So what can a frazzled or otherwise unbalanced DJ do?
Once again, I’m going to borrow from one of my six other professional pursuits, massage therapy, and let you in on how therapists prepare when life is in turmoil and yet they must give clients a positive, health-improving experience: It's called “grounding.” Sometimes it's difficult to tell if we need it, but here are five sure signs that you need to take a breath, step back and get grounded:
1. Being anxious or experiencing constant worry.2. Being distracted more easily than usual; not being able to focus.3. Feeling nauseous or dizzy from pressure.4. A client triggers an unnecessary or excessive anger response.5. Forgetting the details of the event you’ve been prepping for.
DEALING WITH DISTRESSWhen a party guest where I was spinning commented on what a great time it was, I almost absent-mindedly quipped that I was having a great time, too, “and if your DJ has a great time, everybody has a great time!” Our attitude IS infectious. It cannot be faked. Like athletes, we need to get “up for the game”—or there’s a pretty good chance that we’ll “lose” the event. Grounding, then, is an attitude adjustment. It doesn’t fix our problems. It doesn’t alleviate pressures. It simply allows us to cope with them; to place our private anguish on a back-burner—set it aside and be at our best for the time required.
Lucky for us, there is a large arsenal of methods available for self-grounding. But really, the technique is much less important than just implementing the process. Take stock of the problems that are troubling you: Quantify them, label them and imagine them placed in a box or on a list. (Maybe even make an actual list!) Once it, or they, are all in one spot, your mind is better able to put them in perspective; to see that, yes, they’re real, but you can set them aside just as easily as you can put a box in your closet, or a list in a drawer, to be dealt with later.
THIS IS HOW WE DO ITHaving done that, you’re ready to clear out the mental space those things occupied and re-tune your psyche so that you can be at your absolute best. The most popular ways include the following:
The Qigong (Chi Kung) method is a meditation where you sit, feet firmly planted on the floor, and then visualize yourself sending roots very deeply into the ground. (This is why this method is sometimes known as “rooting.”) You can find guided meditations for this online. Athletes call this technique “earthing,” and sports types can read about it at the website, 33fuel.com:www.33fuel.com/news/shocking-the-athletic-benefits-of-earthing/
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The Physical Shield/Barrier/Talisman method can involve a favorite vest, suit coat, sweater or other wearable that you imagine shields you from all negative energy, and connects you to your fun, creative, energetic DJ within! I use this one myself, wearing a vest I grabbed back in the ‘90s at a Mobile Beat expo. You can also use an object, like a crystal, piece of jewelry or a favorite mic.
To utilize the Scrape (also known as the Car Wash), imagine the door of your home or office being a very tight portal. When you walk out into the world, it “scrapes off” all of the bad energy/worries, leaving it all behind. Take a deep breath and tell yourself, “I’m free!” Continue the thought at the venue: Imagine the door being a portal that, like the brushes of a car wash, gives you that “final rinse” of all doubt, and infuses you with the excitement that you might feel if you were ten-years-old and walking into Disney’s Magic Kingdom.
Draining is another great mental exercise, best used the night before a gig in order to get a good night’s rest. Having “boxed” your problems, lie down in your favorite position and focus on your body. Be hyper-aware of your beating heart, the blood surging to your temples; your breath; the heat radiating from your skin...and then imagine that all of your tension and negative energy are starting to leave your body at your toes. Feel it leave, slowly but per-sistently, going on up your legs, ever slowly—focusing on every inch—up your torso and down your arms to the fingertips. When the energy begins to drain from those, imagine that it is rushing
out even faster, on up your neck, face, and finally, your scalp. If you’re like me, you’ll be asleep by then. If not, you’ll never be more ready for it.
I know that a lot of this sounds like “woo-woo,” which, as anyone who knows me will attest, is not my bailiwick, being a non-believer in pseudoscience. To adjust the mind, though, we need to use mental tools, and these exercises are exactly that. There are also some simpler, more physical types of tools to help ground us, such as reminding yourself of who you are now, taking ten slow breaths, splashing some water on your face, taking a sip of cool water, holding a cold can or bottle of soft drink in your hands (or against your forehead), etc. These not only distract us from what we’re preoccupied with, but can bring focus to things we need to focus on.
IT’S ELECTRICAnother powerful mantra is that when we face problems, we realize that we will be past them one day. These techniques are tools that we can keep around to battle any new issues that arise to try and
drag us back into the depths! We can use them in all areas of life, so not only can we rock our gigs to the max, but we can rock LIFE! So find what works best for you, helping you to always bring the best version of yourself to every gig, every job and every family or social event. Until next time, ther-apeutic grounding!
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A D I F F E R E N T B E A T
Stu Chisholm had been collecting music since he was about age 8 and began his DJ career in 1979. After a stint at the Specs Howard School of Broadcast Arts, he studied the DJ arts with famous Michigan broadcaster Bill Henning, interned at Detroit's rock powerhouse, WRIF, and later added voiceover work and club gigs at Detroit's best venues. He has shared his extensive DJ experience through MB columns, as a seminar speaker and through his book, The Complete Disc Jockey: A Comprehensive Manual for the Professional DJ.
F rom homes, to clothes, shoes and weddings, today’s society is obsessed
with customization and personalization. Each home has a distinct feel. Clothes and other fashions you wear tell a story. The shoes you wear, the jewelry you select—they all accent who you are and what you want to represent. It’s the same for weddings.
For many couples, careful consideration goes into each moment created, every vendor selected, and every detail presented. These personalized details express their story, accenting their personalities, tastes, values, and love, based on every vendor selected. They are proven by what they do on the client’s big day: by what they say, how they dress, how they act, and most importantly, how they represent the wedding couple to their guests. Are they organized? Thorough? Timely? Prepared? Fun? Creative? Personable? Do they care?
VIEWING THE DJ WORLD THROUGH A DIFFERENT LENSIronically, there are a lot of similarities between homes, buyers and weddings. This similarity had me intrigued after watching an episode of a real estate flipping show (you know, the one where somebody buys a house for $100k, does $12k of work, then sells it for $300k in a week, after making the shack look like a show home—yep “those” shows). I know, I know; I own real estate and I know the real world isn’t actually like that. Then I heard about an i-Buyer real estate seminar. This seminar for top-producing real estate agents was going to talk about how technology, social media and television dangle unrealistic dreams. It would also expose cost versus value and how it jades buyer’s expectations. I talked my way into the seminar.
It was taught by a regional real estate trainer, Bruce Gardner (see his impressive bio at the end). This seminar (though real estate focused) was fantastic! He used a brilliant analogy in his seminar about, of all things, cake. That’s right, cake! I asked to interview him afterwards and then recorded our chat. His thoughts are must-read material for DJs and brides alike!
(For this article, I annotated Bruce’s some of quotes with DJ-related terms to show the relevance of what he says to the DJ world, for example, “DJ” for “real estate agent” or “wedding vendors” for the list of real estate professionals (ie. appaiser, lender, title company, etc.)
“From the outside of the industry, what it looks like we are doing is just making a cake [DJing an event],” begins Bruce. “They think it’s the same recipe every time, you know, there’s a buyer [a bride and groom], an agent [a DJ], there’s a home [a venue], then the other professionals [photographer, caterer, etc.]… and they think it’s all the same ingredients. But, what they don’t realize from the outside, is that it’s always a different cake. Each and every one is different!”
“Yes, it’s a cake, but every one of them will be different. Just like with weddings, there’s a different client, a different venue, a different photographer, a
Matt Martindale, a professional DJ and MC since 1989, has performed at more than 1,650 wedding receptions, and still counting. Along with running his 18-time award-winning company, Amoré DJ Entertainment (www.amoredjentertainment.com), he is a regular MB contributor and creator of the yearly “State of the Industry Report.” His extensive entertainment experience also includes training in audio production and sound engineering, lighting and design, improv comedy, voiceover artistry, magic, and more.
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M O B I L E M A T T E R S
Distinctly DifferentBy Matt Martindale
Distinctly DifferentCAKES, REAL ESTATE AND MAKING A WEDDING TRULY UNIQUE
By Matt Martindale
M O B I L E M A T T E R S
different caterer, different guests, different music, different dance styles, different personalities, different everything. Yes, it’s a cake from the outside, but it’s a different cake every time. And It will always be different.
“That means...You have to know what they want. You have to know why. Yes, some of the ingredients may be the same, but it will always be a different cake.
“It’s even possible to have two homes [weddings] side by side, in the same neighborhood [at the same venue], at the same time, on the same day, for the same family [say, two sisters], but both homes [weddings] will always be different.
“What you don’t realize is that YOU ARE THE BAKER OF THE CAKE! “You don’t realize how good you really are. You don’t realize
what you do. You take what you do for granted. You just do it, but it’s only the good ones who know what they do is different. They take the time to talk to the customers first before they buy. They want to know. The average person that is good at their job, really appreciates the amount of value they bring to the client. Most do not.
“Most of you think a cake is a cake, inside and out, and in every aspect. They think that it doesn’t matter and it’s just about the frosting [music and lights], but each cake has a meaning. Each cake tells a story. Each cake has its own personality. Each cake symbol-izes their celebration. Each has to be different!
WOW! Simply WOW! Bruce “gets it.” He teaches the country’s best real estate agents
to “get it.” This helps them serve their customers better. Do you, as the DJ, “get it?” Do you understand your client’s vision? Do you help them understand why their vision matters and why it has to be communicated before they book?
I truly believe that it is our mutual responsibility (as the profes-sional DJ, us as the industry, and especially on the part of the client) to meet and personally discuss their event before booking. It’s not just about “ingredients” like a date and hours or music and lights. This is so much more; especially when the DJ has primary control over the three biggest sense elements that influence how guests will experience (and remember) a wedding:
Sight (how guests see the celebration), through light, color and patterns; especially as it gets dark.
Sound (how guests hear the celebration), through music, and the spoken word.
Touch and space (how guests experience the celebration) through dance, movement, balance and expression.
Otherwise, if it’s just a gig, then a gig is a gig, just like a cake is just a cake with the same ingredients. The same plain white cake with simple vanilla frosting is the same plain white cake, with the same stale look, taste, and texture; and that’s, well, boring.
Remember...They think it’s the same recipe every time: There’s a bride, a DJ, a venue, a photographer, a caterer…and they think it’s all the same ingredients. But, what they don’t realize from the outside, is that it’s always a different cake—a unique event.
Do you, as the DJ, do “different,” or do you do the same recipe every time? After inquiring about DJ services, do you, the client, inquire but then encourage indistinguishable services by not com-municating or wanting to meet? (EASY TIP: please provide your phone number!)
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M O B I L E M A T T E R S
Clients expect different. Guests expect different. DJs want to do different...but we have to know what your version of different is.
To the bride-to-be: Take the time to meet the DJs you inquire with. It’s important that you communicate your version of different upfront and in person. The ingredients of just date and time, and “how much do you charge” don’t work. You want different on your wedding day and that’s okay! We love different! We just need to know because your day should:
• Make a statement. • Tell your story.• Showcase your own style.• Brand your wedding.• CREATE memories!
To the DJ: Encourage a personal meeting. Don’t be lazy. Don’t rely on email or texts hoping to decipher their vision in a couple of sentences. That never works! Take the time to meet. Take the time to understand. Take the time to prepare so you can tastefully deliver different.
About Bruce GardnerBruce Gardner has had his real estate license for 11 years, earning several prestigious designations. He was elected into the RE/MAX Hall of Fame, was chosen as the Realtor of the Year in 2008, and Entrepreneur of the Year in 2013. Since then, he’s been training and coaching the country’s top-producing real estate agents in devel-opment. Bruce speaks nationally and internationally on sales, lead generation, technology and trends. He is the author of several best-selling books and can always be found on www.BruceGardner.com)
DJ Trivia www.djtrivia.com
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Roland is the definition of creative technology. With
groundbreaking innovations (like the TB-303, TR-808, and TR-909), Roland has established itself as a household name in electronic musical instruments. With their recent release of DJ-707M, they continue to push forward as an innovator, even in the saturated DJ controller market. I had the pleasure to dive into this highly-featured four-channel Serato controller, and it is clear the Roland DJ-707M is laser-focused on mobile DJ applications. Its appeal comes from a unique combination of intelligent solutions that simplify the lives of working DJs. There is no denying that the mobile DJ community spoke up, and Roland listened with open ears.
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S C O O P
Roland DJ-707M Controller: Versatility on the Go
WITH THE NEW ROLAND DJ-707M, “M” IS TRULY FOR “MOBILE”
By Rachel Lynch
S C O O P
Versatility on the GoWITH THE NEW ROLAND DJ-707M, “M” IS TRULY FOR “MOBILE”
By Rachel Lynch
This controller is compact and highly portable, coming in at a modest 7.7 lbs (as compared to the Denon MC6000MK2 that weighs 9.2 lbs or the Denon MC4000 coming in at 13.2 lbs.) Roland has mastered the delicate balance between portability and durabil-ity. The DJ-707M’s design is geared towards weight reduction while still offering robust metal accents where you would want them. The user can also service the standalone mixer with ease by simply removing a few screws. As part of my test, I unplugged the con-troller from my laptop during use, and the mixer was impressively capable without being connected to Serato.
At first glance, the unit looks underwhelming and conserva-tive, without the massive screens and aesthetic flair we have come to expect from newer controllers; however, I quickly learned the unit’s real beauty isn’t on the surface, but in its settings and available features. I would have liked to see a bigger, more vibrant display, since most of the DJ-707M’s utility revolves around it, but it does the job. Overall the layout is surprisingly comfortable, considering how much versatility they crammed into a reasonable footprint. As my first experience with a Roland product, I was expecting it to be challenging to use, but I felt right at home. The buttons and dials feel crisp. The platters are responsive. I anticipate that the short tempo sliders and smaller jog wheels may be a turnoff for some DJs who expect larger features or motorized platters from a “per-formance-based controller.” The truth is that the modest design of these elements complements the mission of the unit and allows room for other priorities.
The Roland DJ-707M is hands down one of the most flexible controllers I have ever used. It’s jam-packed with pro features and standalone technology that offers and an insane amount of cus-tomization (too much to cover in this short piece.) With seven dedicated inputs and three assignable outputs, it has certainly earned the title of “Swiss army knife” of controllers. From its iconic integrated drum machine (available on deck 3) to the ability to have up to four studio-quality microphone inputs with feedback suppression (including two master microphone inputs with three-band EQ) and two master microphone inputs with three-band EQ, it’s able to tackle spur of the moment demands with ease. The ver-satility of this controller gave me an immediate confidence boost knowing there are convenient options to get the job done right with built-in redundancy. The dual sound card USB ports on the back give the ability to plug in a second computer and switch to a backup with the simple press of a button, or a DJ can easily connect an iOS device to the PC-B port. With all the available backup options on this controller, the show will go on without missing a beat (pun intended)
DJs are not only expected to provide great sound but also work in tandem with other vendors or others providing special music for an event like a wedding ceremony. While some may moan and groan having to accommodate musicians or videographers during an event, the Roland DJ-707M removes all excuses, putting the customers’ best interests first.
I applaud the unit’s versatile front panel auxiliary inputs. An
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S C O O P
1/8” jack provides an input for an audio player (for when someone hands you a phone or iPod containing that special song; or for your own backup). Dual 1/4” connections let the DJ connect one or two additional mics, or connect line level inputs from musical instruments like keyboards. The inputs are switchable between either two mono channels or a single stereo input, with a switch for setting the gain properly for mic or line, and choosing mono or stereo mode. An aux level control knob is also provided right there on the front panel. These capabilities take the unit’s aux section beyond what you’ll find on a standard DJ mixer or con-troller, and will make working with one or two musicians (again, a typical wedding ceremony situation) easier, without the need for additional gear.
Additionally, as clients seek out less conventional venues with complex layouts, the Roland DJ-707M allows the DJ to run a dedicated zone output to another room. This means the DJ can play laid-back music in one area of the venue while keeping a separate room at high energy; or it allows the DJ to make isolated announce-ments and not disturb another zone. The zone output also makes it easy to provide an audio feed for the videographer.
My favorite feature on the Roland DJ-707M is their revolution-ary event management scene tool. This controller has the ability to access 10 onboard scene configurations that can be customized to the venues a DJ visits most frequently. By instantly recalling loud-speaker management, audio routing, and previous settings, the DJ
can provide a consistent service for every event and save time on the backend. Who wouldn’t want more freedom to grab a bite or relax a bit before guests arrive?
Sources have said support for Virtual DJ is also on the horizon for the DJ-707M. This is VERY exciting for the mobile DJ community since a large portion of the mobile DJ market uses VDJ software. The features on this unit are truly fitted for the modern DJ and our clients’ expanding expectations. I’m looking forward to adding this hearty controller to my arsenal of tools to rock the party. Two thumbs up Roland!
https://www.roland.com/us/products/dj-707m/
Rachel Lynch, better known as DJ Rachel, is a fun and unique talent who has emerged as one of the top female DJs providing premium entertainment services across the Northeast. She has opened for iconic entertainers including George Clinton & Parliament Funkadelic and Gloria Gaynor. Leveraging her gift for communication along with top-notch gear and performance skills, she has been working wth industry leaders like IDJNOW and Digital DJ Tips to produce video tutorials and gear reviews.
Click here to check out Rachel’s YouTube channel
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“D isco Is Dead” read the headlines on July 12, 1979 following an explosion of a crate of disco records and a riot at Comiskey Park in Chicago involving almost 50,000 people. The age of Studio
54, polyester leisure suits and giant mirror balls ended with a literal bang...or did it? Disco augmented the sex and drugs of rock and roll with glitz, glam and debauchery to the max. The music itself was a cocktail of Motown, soul, funk and R&B, and its rhythms gave birth to early hip-hop and house music.
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P R O D J F I L E S
Disco Twitter Links Past and Present
By Mike Cordeiro
P R O D J F I L E S
Disco Twitter Links Past and Present with Musical Passion
SHARING A WIDER VIEW OF THE CLASSIC, MOBILE DJ-DEFINING GENRE
By Mike Cordeiro
The images most of us have of that time are of tight white suits, giant afros and synchronized roller
skating routines. The movie Saturday Night Fever made John Travolta the poster boy of that entire era. Fast-forward forty years to 2019 and disco seems out of place in today’s music world of hip-hop, house, trap and EDM. It’s true that many DJs cringe at the thought of playing “YMCA” or “It’s Raining Men;” but there’s at least one who actually embraces the genre. And he’s on a worldwide mission to keep the sparkle of an eternal mirror ball shining brightly. His name is Disco Twitter.
Mike Cordiero: First, most obvious question: Where in the world did you get the idea for the name “Disco Twitter?”
Disco Twitter: I’ve always had a love for disco music. I like to go crate hunting at record stores and dig for raare vinyl of disco and funk tracks. When I would find something really good, I would share it on social media (Twitter) and I started using the hashtag #discotwitter so people could find and share my links or their own links.
MC : When did you adopt that as your DJ moniker?
DT : Honestly, I’ve never been a fan of the whole DJ nickname thing, but when I first started playing out and doing mixes, one of my first gigs was a friend of a friend’s birthday party. It just so happened that a popular Japanese DJ was there and liked my set. He asked me to be a part his podcast. Things started moving quickly from there and I ended up on FM Osaka in Japan. So I needed a DJ name. Since I had already been using the hashtag it was just a natural choice.
MC : Is disco that popular in Japan?
DT : It’s huge overseas. In America, New York and San Francisco are the two biggest markets. There’s a big disco following in Asia. As I started doing more sets for FM Osaka, people would call the station asking who I was. That led to more podcasts and being asked to DJ for the Disco Factory FM in the Netherlands.
MC : The Japanese people seem to love anything retro Americana.
DT : They do. They sing songs word for word; even tracks that I thought were rare gems, they knew by heart.
MC : How did you deal with the language barrier?
DT : After my sets I would go up to people and ask how they knew a particular song. They don’t speak any English, so most of the time they would just look at me and smile and nod.
MC : How did you do the podcasts with the language barrier?
DT : The DJ I was working with spoke English and the radio station usually had at least one person on staff that could translate what I was saying for the show. The bad thing is that the station would give out my contact info and all the requests or questions I get are in Japanese.
MC : How do you handle that?
DT : I spend a lot of time in Google translate or asking someone at the station to help me.
MC : When I was listening to some of your mixes I noticed some Japanese phrases thrown in. What are those about?
DT : Those are my DJ drops. I had them translated so the audience knows when I’m on and whose mix their listening too.
MC : I gotta say that is a really smart idea. We all usually just have our drops in English. It makes sense if you are creating sets for an interna-tional audience, then your drops should be in their language.
DT : That is one of my goals for the near future to have my drops translated into multiple languages so I can send my mixes worldwide and have them reach the right audience just by adding in the proper drops.
MC : That right there is borderline brilliant! Now, you’ve only been doing this for less than a decade, right?
DT : I started out in 2013. I was doing parties for my college. I would also throw disco parties at my little apartment. I would decorate it like Studio 54 and make everyone show up in bell bottoms. Once I started doing the mixes for the station I decided to branch out and do some gigs in New York where I was living. I wanted to see what the potential was for me.
MC : Well looks like you made the right choice. Why disco though?
DT : I just felt growing up in the nineties that everything I was listening to was disco. All the early hip-hop and house music was disco samples.
MC : True, very true.
DT : Even much of today’s music uses bass rhythms and melodies from early disco tracks. I really gravitated to it at a young age.
MC : What was the first disco album you bought?
DT : The first one I bought with my own money was by Jamiroquai.
MC : That is an eclectic choice.
DT : I was like six years old going into a Sam Goody store to buy it.
MC : Sam Goody? I haven’t seen one of those in ages! You are a diehard fan.
DT : [laughing] I guess so. It’s always been about the lyrics and how disco makes me feel. The whole point of listening to music is to take the stress away and forget about where you are or what’s going on in your life. That was the message of disco to me.
MC : I think that is the main reason DJs do what they do. To help people escape.
DT : Right. With all the traveling I do, sometimes I need that reminder myself.
MC : Do you find that you have a big following within the LGBTQ community?
DT : Definitely. When you go back to the roots of disco in the early 1970s it was the gay clubs and the black and Latino clubs that first started playing disco music. They pushed it into the mainstream.
MC : I don’t believe that many DJs really know the history of disco and how it is interwoven into the fabric of the gay community and the clubs of Greenwich Village. I really wish younger DJs would spend
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more time studying how music has influ-enced and shaped our culture and less time building crates and playlists.
DT : Exactly. The early disco clubs were the only places you could go that didn’t care about your race, creed or sexual orientation. You could just be yourself, dance and have a good time. That hasn’t changed. When I’m out in San Francisco I try and hit up some hot spots and spin some good vibes.
MC : How did you develop your personal mixing style?
DT : I would go to clubs and parties and listen to other DJs spin. They all had a tendency to play only disco remixes or mix disco melodies over house beats and just butcher up the vocals. I hated it. I decided that I was only going to play originals and mix that way. Unfortunately, no one told me how hard that would be.
MC : Disco is not like today’s auto-tuned, studio-centric stuff.
DT : No, not at all. You had real bands playing and sometimes the tempo would change mid song. It’s tough to mix. It’s like the difference between a live version and a studio version of a track. Same song, totally different beat.
MC : Great analogy. Do you spin mostly vinyl or digital tracks?
DT : It’s both but I prefer vinyl. There’s just something so rewarding about nailing a vinyl transition. I believe in high-risk/high-reward mixing.
MC : What do you mean?
DT : I try to keep most of my transi-tions to less than 60 seconds. That gets tough because at any time one record can be slower than the other. So either I feel great about a mix or I start panicking halfway through a transition because the records aren’t lining up.
MC : How often do you practice your mixes?
DT : I try to get in a few hours of practice time each week. That’s full mixing on the turntables with me not only watching the jog wheels, but also monitoring the pitch controls and faders.
MC : When you mix digitally which program are you using?
DT : I use Virtual DJ.
MC : Same here. I am curious though, because I find that most club guys prefer
Serato and the Mobile guys prefer Virtual DJ. You’re a VDJ guy though?
DT : I like to use a lot of cue points in my tracks. I like the way Virtual DJ displays the track waves and beats over Serato. I’ve just become accustomed to it and if it ain’t broke, don’t fix it, right?
MC : True. Are you using the latest version of Virtual DJ?
DT : Yes, but I also got some new CDJs. They’re set up with Tractor, so now I have to reprogram five year’s worth of cue points.
MC : Typical DJ nightmare. I feel your pain.
DT : I see some DJs using four CDJs with a big mixer. Nobody’s using all those buttons.
MC : I hear you. Nobody but Steve Aoki uses all those buttons (and tosses cake!).
DT : Yeah, exactly.
MC : One of the things I found most interest-ing about your mixes is that you make old stuff sound new. How do you do that?
DT : That’s a good one. I always want my mixes to appeal to any age group. I don’t want to sound like I’m just spinning for old people or just the younger crowd. So what I’ve done is taken certain tracks and created my own percussion or sampled beats from newer tracks and overlayed the vocals to give it a modern feel without really changing the integrity of the song.
MC : How are you doing that?
DT : Usually through Pro Tools or a similar program like Audacity.
MC : Do you primarily use only music from the ‘70s and early ‘80s or are you also using tracks from newer artists that have a throwback “disco sound?”
DT : I hear disco in everything so I’m always listening for something new that has an older vibe. There are artists now that are creating brand new disco tracks. My sweet spot is all the music from 1979. I think that’s when disco was at its height and in its purest form. It was just that perfect sound of a little funk, a little pop and some “real” disco mixed together, so anything from late 1978 to early 1981 is great for me.
MC : I think when most Mobile DJs get asked to play disco they automatically reach for “Play that Funky Music,” “We Are Family,” “YMCA” or “Stayin’ Alive.” Maybe if they want to get creative they’ll use “Ring My Bell.” Is it
because they’re afraid to dig deep or just a lack of knowledge about the genre?
DT : I think it’s both. Most people at a private event just want to hear the hits from a certain era. I think the younger DJs don’t know the genre that well simply because they didn’t grow up with it. I always try to be very honest about my sets when I get booked. I go really deep into the genre and try to play lesser known B-sides and some great obscure hits. I also try to mix in a well-known hit every third or fourth song. I just try to find that balance when I play. Read my crowd.
MC : Well said. Are you finding that a lot of younger people respond well to the older disco songs? Even the lesser known tracks?
DT : My goal when I play to any crowd is to get them to listen to disco in a new way and experience it differently than when they heard it growing up. I want the younger crowd to hear my sets and think, “Hey, this is something I can listen to any time and enjoy.” The best feeling is when people come up to me after my set and ask me about the songs I was playing because they can’t find them on Shazam or Spotify. That’s when I know I broke through to them.
MC : I don’t know if I’m a little jaded because this is my career, but I really believe the general public has no real deep knowledge of music. It’s all superficial. Just whatever the record companies feed them. I say that based on the type of requests I get at events. There’s always that one person (or five) that ask you to play the song that goes, “boom chucka boom boing bam.”
DT : I get that a lot too. It’s mainly because people’s idea of disco is the Bee Gees or “We Are Family.” They haven’t been exposed to real disco. I would say most people only really get into one or two genres of music. They may say that they “love” all music, but in reality they always have the same radio station on.
MC : True. You have to admit though that it’s extremely annoying when someone comes up and says, “Hey, play something we can dance to” or “Play something good.” I always feel like saying to them, “You wouldn’t know a good dance tune even if Michael Jackson showed up and moon walked it all over your face.”
DT : Too funny. I would add that most people listen to music simply to relax or to make themselves feel better. They don’t care if the song was recorded on four tracks or eight. It doesn’t matter to
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them what key it’s in or if the song has a 16 or 32-beat intro. That’s our job.
MC : Agreed. I really believe that to be a great DJ you have to be somewhat of an audiophile. You have to know the “why” of a song.
DT : Oh, absolutely. I understand that for many younger people in my audiences that my sets are their first real exposure to pure disco. I try to mix in a way that blends old songs with sounds that are familiar to them. If I can do that right then they walk away with an appreciation for a style of music they’re not used to.
MC : That’s a great point. Really, that should be the goal of every DJ when they perform. Can you give me an example of that?
DT : Sure. People that come to see me know my sets are mainly disco-centric. To be creative and keep things fresh I might play Gladys Knight and the Pips’ “Boujee Boujee” and combine that with the vocals from Migos’ “Bad & Boujee.” Another newer song I like to mix in is Lizzo’s “Juice.” To me that’s a straight-up disco song.
MC : Do you have any DJ mentors?
DT : No one in particular. Wherever I travel I try to see as many different DJs perform as I can. I truly believe you can learn from anyone if you’re open to it. If I catch a set from a particular DJ that really inspires me, I’ll share my experi-ence on social media and give them a shout out. I think that’s something we can all do to help one another as DJs. I know our field is very competi-tive, but I’m all about supporting DJs who bring something unique to our craft. I like DJs who aren’t afraid to do something different. Any one of us can spin Top 40 or oldies. The guys that are taking chances and mixing something different or creating a new sound inspire me. These are the people that are changing the DJ world.
MC : Well said, that was really spot on. Our industry is saturated by mediocrity and guys chasing the next shiny piece of gear. How do we get past that?
DT : When I see a DJ who is really unique break out and start perform-ing at festivals or big events I’m always so happy for them and for all of us because what they’re doing is going to help change our industry for the better. We are really over-saturated with guys who play the same set list week after week with no creativity. All
their events sound the same.
MC : The sad part is that our industry is very ego driven. Think about it -- we are one of the only industries that give ourselves nicknames. Have you ever gone to a restaurant and made a reser-vation under “DJ Disco Twitter?”
DT : I get it, but like I said earlier I’m not a fan of the whole DJ name thing. I guess you do need one for catchiness. The name Disco Twitter is a lot more memorable than Jason Weintraub (DT’s real name).
MC : Do you consider yourself a DJ or a musician? I did an interview with Mix Master Mike a few years ago and every time I called him a DJ he would correct me and say musician. What’s your take on that?
DT : I get that. DJs nowadays almost have to be producers. How many of us put out our own mixes on SoundCloud? Back in the day you didn’t have to worry about that. I really think our entire industry is headed that way.
MC : Do you find that challenging to keep up with the “content” battle?
DT : Oh, yeah. I still have another job, so trying to find the time to just sit and create is challenging. I’m just trying to keep up with practicing.
MC : Are you planning to go full time?
DT : Absolutely. It’s about timing. I’m hoping in 2020 to make the leap.
MC : What about family. Where do they fit in?
DT : Honestly it’s just me and my little brother. No wife or girlfriend. No kids. I’m just so busy...Right now all my time is DJ focused.
MC : Who’s your biggest critic?
DT : I am. I record all my practice sessions and I’ll go back and listen to them to work on my transitions and song placement, but I won’t listen to my live sets, ever!
MC : Why is that?
DT : Because I’m too hard on myself and you can’t go back and change a set once it’s played. If I had a hot set and the crowd enjoyed what I did. I leave it at that. I don’t want to pick apart a great night over small mistakes or one bad transition.
MC : Right. Take the win and let it go. Any advice or words of wisdom to share?
DT : Yeah, even if this doesn’t get to be a full-time career for me or it ends soon, the fact that I got to the point where I get to be flown out for events or I’m walking down the street in Japan and people stop me for pictures is extremely humbling. Be thankful for the time you get to spend doing what you love.
MC : Awesome. That being said, do you have a personal Mantra?
DT : I’m all about loving life and spreading disco goodness.
MC : Great stuff, thanks.
Follow Disco Twitter on Instagram: @discotwitter
Check out his mixes on SoundCloud at: #discotwitter
Michael Cordeiro is the owner of M.C. Entertainment, a small multi-op in Rhode Island. He has been on TLC’s Four Weddings, hosted an episode of Toddlers & Tiaras and has opened for many celebrities. He has a degree in Entertainment and Event Management from Johnson and Wales University.
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The engagement level of your workforce expands beyond the limits of offering tangibles such as
a great benefits package, competitive market rates, flexible work schedules and challenging projects. Your company culture is truly your competitive advantage.
Most leaders are intent on shaping a constructive, collabora-tive and innovative workplace; however, accomplishing this eludes most. The following eight steps are tried-and-true advances to creating a great place to work.
1. UNDERSTANDING THAT THE ORGANIZATION IS A “HUMAN” SYSTEMThe human system is made of people and requires a higher degree of competency from all those who operate inside it. A human system requires much more cultivation, as a living and breathing
system is made up of many different people with thousands of per-spectives, thoughts, beliefs, points of view, preferences, etc.
In a highly functional human system, such as a construc-tive corporate culture, the functionality of the system as a whole empowers individuals to fully participate with one another outside the limits of personal agendas and ego and inspires people to col-lectively collaborate and contribute to the group cause.
Understanding the realities of the human system allows you to intervene in the “drift” of a culture on auto pilot and conscious-ly shape a culture that operates outside the automatic, normal, human-conditioned patterns. When leaders of organizations understand the fundamental human operating mechanism and how thoughts work, they can proactively intervene and intention-ally create a positive experience for people operating in the human system, thus helping them thrive. This intentional experience is a constructive corporate culture.
8 Steps to Transform Your Corporate Culture
POWERFUL, PROACTIVE WAYS TO MOVE YOUR ORGANIZATION POSITIVELY FORWARD
By Magi Graziano
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F E A T U R E
2. GETTING CURIOUS ABOUT WHAT IS SOWhen you take the time to peel back the onion and analyze the current condition of the human system in your organization, it gives you insights into the root causes of labor disputes, stifled workforce productivity, unwanted employee turnover, and lack of employee engagement.
It is imperative that you inform your people what you are up to and why. When you do reach out and let them know that you want to have a conversation or send a survey about culture, share the purpose behind your curiosity. If you are unclear about your reason and purpose for learning more, wait until you are filled with purpose or compelled by a real business need to move forward.
Before you begin your inquiry process, ask yourself what you really want to learn and what will you do with the information once you learn it. As you are speaking to people and reviewing the results of the survey, embrace your most curious, non-judgmental, non-reactionary, authentic self. Staying in the neutral zone during your conversations allows you to sense patterns and discern systemic organizational themes.
3. ACKNOWLEDGING THE UNWORKABILITYEvery executive has an image of how the ideal organization operates. The first step in any positive organizational change effort is getting real—the acceptance of what needs to change and what needs to happen to have the change last.
Make a list of the areas uncovered in the data collection process (interviews, focus groups, surveys) and prioritize the highest impact areas. The highest impact areas are highest because if improved, they would glean the best return on time, money and effort invested. Next, connect the underlying behaviors, operating values and organizational processes or mindsets that intentionally or unintentionally constrain the overall engagement, performance, collaboration, and innovation among your workforce. Once you believe you have a handle on what is not working, it is important to allow the impact of this unworkability to move you into action.
4. OWNING THE IMPACTLike it or not, the most senior executive is the ultimate guru with regards to how the organization operates. They decide what behavior is tolerated and how people treat each other. Introspection and self-awareness allow you to get real with yourself about what is really going on in the organization. If you are able to let go of self-judgment and defensiveness, you are much more able to see yourself as at the source of the unworkability. It is not about accepting blame or feeling guilty and taking responsibility for the problem; rather it is about seeing how you as the leader set the tone and create the space for constructive or destructive behavior to exist in the workplace.
5. CREATING AN INSPIRING VISIONA mission statement is meant to guide the way for people to know and understand how to behave, act, react and work in sync with one another to accomplish the collective goal. In the absence of a grounded, motivating mission, human beings naturally focus on their individual experience and personal goals. The power and detriment of personal thinking in a human system is that it produces silo mentality, unnecessary competition and friction throughout the organization.
6. ENROLLING OTHERSEnrollment creates the possibility for others to feel connected and inspired in the workplace. Once you gain clarity of your mission and vision, communicating the message to the workforce is essential. Communication is often where messages break down. Realize that every person in your workforce has a unique perspective and way of listening, and target your message to the greater population and the varying degrees of listening. When crafting the message, discern the impact it will have on the people hearing or seeing it.
7. DESIGNING AND FOLLOWING A ROAD MAPOnce you have inspired the troops and promised a bright future for all who lead and follow in the organization it is time to formulate a specific action plan. A cultural alignment road map includes desired outcomes, initiatives, programs, training, projects, people, and timelines.
Each person involved and engaged in shaping a construc-tive corporate culture needs to understand their specific role, the amount of effort required outside of normal responsibilities, corporate goals, and the desired organizational outcomes. Laying out a plan for what comes first, second and third, as well as who is ultimately responsible for keeping the overall action items and con-structive culture initiatives on track, is necessary to move forward. As with any major organizational improvement, meeting regularly, tracking progress and publishing results is what empowers forward movement.
8. MEASURING WHAT MATTERSNow that all the groundwork has been established and you know the why, what, how, and who, it is critical for success that you measure the benefits of the systemic changes you are making. Many organizations utilize the balanced scorecard approach as a framework for setting the right metrics. Additionally articulating and tracking the key result areas impacted by shaping a construc-tive culture gives insight and information that tells people in the organization what is working and what is not, what needs to pivot or realign, and what needs to stop. Without system-wide account-ability from the top to the bottom and everyone in between, the organization won’t flourish. A core component of a constructive culture is achievement. When you measure what matters, people pay attention. Through accountability and transparency people get to see their impact, how the team is doing, and how the improve-ment of the culture is elevating the organization’s operating effectiveness.
STEP BY STEPThe eight steps to transforming your corporate culture from the inside out are not difficult to walk through. They are not revolution-ary. These steps are simply a commonsense approach to bringing out the best in people in the places they work.
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Magi Graziano is a speaker, author, and Chief Evangelist for KeenAlignment, a global people optimization consultancy firm and Inc. 5000 award recipient. Her book, The Wealth of Talent, was written from over 20 years of real-world, hands-on experience. Those who experience Magi’s programs, on average, reduce operating expenses by 8%, improve net profit by 5.6% and increase revenues by as much as 200%. For more information, please visit: www.KeenAlignment.com.
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