Podcasts about every dj

Punk house and techno from a modern Midwest icon. Every DJ has their own genesis story: a pivotal sound, a formative scene, a defining philosophy. Kiernan Laveaux is no different, yet her philosophy, rooted in psychedelia and experimentation, stands completely apart from her peers. Inspired by Nine Inch Nails, Depeche Mode, and New Order, she came of age in Cleveland's acid house and queer party scenes, developing an ethos that constantly pushes dance music's limits. Her DJ style is scrambled (in the best way), with zany tricks like scratching, creative EQing and modulation. This approach reflects the Midwest's DIY tradition, where artists thrive in isolation and cultivate a radical disobedience, as seen in contemporaries like Eris Drew and ADAB. As Laveaux recounted in a 2023 interview with GROOVE Magazin, "Titonton Duvante once told me that being a Midwest DJ is about playing music from anywhere and making it sound like a piece of your spirit." Spanning two-and-a-half hours, Laveaux's RA Podcast showcases this spirit. It's a testament to her decade-long career, blending tracks from friends and cherished memories into a transcendent mix. It's "music to shake your hips to and decalcify your pineal gland." (For the curious, the pineal gland helps regulate your circadian rhythm.) RA.963 will make you dance and think in equal measure—a beautiful, restless and resolutely wicked journey through a singular imagination. @kiernan-laveaux Read more at ra.co/podcast/963

"WHO's OUT THERE? - Every DJ's question... perhaps now applies to us all... " Zaph Mann

Summer is officially here and the Ear Buds are back with Episode 9! This month, the guys connect with DJ/producer Cheyenne Giles. We break down everything from transitioning from open format rooms to festivals and dive into his approach to producing. Plus, we discuss the summer smashes and must-plays for the month. 

Episode 3 of ON A WAV podcast!

Welcome back to "We Create The Vibes," the ultimate podcast designed for DJs on the rise! In this game-changing episode, we've got the renowned DJ Dre Ovalle joining us to spill the beans on the must-have accessories that every DJ needs.Decked Out Decks: DJ Dre Ovalle unveils the latest and greatest in DJ decks, sharing insights on what sets certain models apart and how to choose the right one for your style.Headphone Hacks: Dive into the world of DJ headphones as we explore the features that matter, the comfort you crave during those long sets, and how to find the perfect pair without breaking the bank.Serato Secrets: Get an exclusive look into DJ Dre Ovalle's Serato setup, including tips and tricks to make the most of this powerful software.Lighting the Stage: Discover the game-changing impact of DJ lighting, from creating the perfect ambiance to enhancing your overall performance.Travel Essentials: Whether you're a local legend or a globetrotting DJ, find out the essential travel accessories that will keep your gear protected and your journey seamless.Ready to revolutionize your DJ setup? Download this episode now and gain exclusive insights into the DJ accessories that will take your game to the next level. Share this episode with your fellow DJs who need the inside scoop on the tools of the trade.Don't miss out on this opportunity to enhance your DJ experience and set the stage for unforgettable performances. DJ Dre Ovalle is bringing the knowledge, and you won't want to miss a beat!#CreateTheVibes #DJAccessories #DJDreOvalle #WeCreateTheVibesSupport this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hey Vibemasters!

Think you've got the DJ vibes in you? Join us as we explore the exciting world of podcasting!

Hey DJ Superstars!Get ready for an awesome ride in Episode! This time, we're unlocking the DJ secrets every music maestro should know: "How To Read A Crowd!"

What's the secret sauce to becoming an awesome DJ? DJ Rachel Lynch is here to spill the beats! In this episode, we're diving into the #1 thing that can take your DJ skills from good to great. It's like having a superpower behind the turntables!DJ Rachel will share stories, tips, and the magic ingredient that every DJ should know. Trust me, it's a game-changer that can make your sets unforgettable. Whether you're just starting or a seasoned pro, this episode is packed with DJ wisdom you won't want to miss.

Join the fun on this episode of We Create The Vibes, where we spill the beans on a hot topic: "Every DJ Needs a Sound Mixer!"

Ross Harper on The DJ Sessions On Location Sessions at ADE 2023 10/19/23   About Ross Harper - “Really, my artiste, you amaze me. The lengths you will go to in order to accomplish your own destruction” - An excerpt from Neuromancer by William Gibson I have had an unswerving devotion to electronic music ever since my heady baptism in the 90s London rave scene which culminated in an intense 5 years of studying music production. Since then I have spent a lifetime delving deeper and deeper into production.  My music has been compared to Jon Hopkins, Robert Miles and Orbital. Although these similarities are discernable, I am simply an artist determined to do my own thing.  My major early influences as Led Zeppelin, The Doors, Portishead, Morcheeba and then everything 90s rave. I grew up in a single parent family and my mum has been my greatest role model, she was a Children's Party Entertainer for most of her adult life.  My first name Ross means “headland”, the piece of land that sticks out into the sea and helps create somewhere wild, as well as the bay where people can enjoy the sea. My family name, Harper, comes from ancient times, Harper's are traditionally musicians who play music at festivals and for the royal gentry. My ambition is to live up to both these names I have been given. Every DJ set I share is a blank slate waiting to be written, I play anything from techno, drum & bass, deep house, dark disco, progressive house, cool ambient and everything in between. My personal productions are rich, varied and never to a script. The Ambient Girl series explores downtempo and has seen support from Cici, Lemonella and Ben Malone on Kiss FM. In Your Eyes e-zine dubbed it as “strong candidate for electronic album of the year”.  Whereas my beat driven works have been supported by industry legends like Charlotte de Witte, Enrico Sangiuliano, John Dignweed, Kölsch, Laurent Garner, Martin L Gore of Depeche Mode, Sasha, and Nemone on BBC Radio 6. I am also the founding father of City Wall Records, where my A&R skills have signed tracks played in numerous Boiler Room sets including SNTS at Kompass and Ancient Methods in Berlin. I hold a weekly residency on www.aajamusic.com every Friday from 1000hrs GMT. I also present a monthly two hour show on AAJA on the fourth Monday of every month at 1800hrs where I share a plethora of cutting edge new underground releases.   About The DJ Sessions -   “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers. It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception. The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week. With over 2,400 episodes produced over the last 14 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Dr. Fresch, Ferry Corsten, Sevenn, Drove, Martin Trevy, Jacob Henry, Wuki, DiscoKitty, Moon Beats, Barnacle Boi, Spag Heddy, Scott Slyter, Simply City, Rob Gee, Micke, Jerry Davila, SpeakerHoney, Sickotoy, Teenage Mutants, Wooli, Somna, Gamuel Sori, Curbi, Alex Whalen, Vintage & Morelli, Netsky, Rich DietZ, Stylust, Bexxie, Chuwe, Proff, Muzz, Raphaelle, Boris, MJ Cole, Flipside, Ross Harper, DJ S.K.T., Skeeter, Bissen, 2SOON, Kayzo, Sabat, Katie Chonacas, DJ Fabio, Homemade, Hollaphonic, Lady Waks, Dr. Ushuu, Arty/Alpha 9, Miri Ben-Ari, DJ Ruby, DJ Colette, Nima Gorji, Kaspar Tasane, Andy Caldwell, Party Shirt, Plastik Funk, ENDO, John Tejada, Hoss, Alejandro, DJ Sash U, Arkley, Bee Bee, Cozmic Cat, Superstar DJ Keoki, Crystal Waters, Swedish Egil, Martin Eyerer, Dezarate, Maddy O'Neal, Sonic Union, Lea Luna, Belle Humble, Marc Marzenit, Ricky Disco, AthenaLuv, Maximillian, Saeed Younan, Inkfish, Kidd Mike, Michael Anthony, They Kiss, Downupright, Harry “the Bigdog” Jamison, DJ Tiger, DJ Aleksandra, 22Bullets, Carlo Astuti, Mr Jammer, Kevin Krissen, Amir Sharara, Coke Beats, Danny Darko, DJ Platurn, Tyler Stone, Chris Coco, Purple Fly, Dan Marciano, Johan Blende, Amber Long, Robot Koch, Robert Babicz, KHAG3, Elohim, Hausman, Jaxx & Vega, Yves V, Ayokay, Leandro Da Silva, The Space Brothers, Jarod Glawe, Jens Lissat, Lotus, Beard-o-Bees, Luke the Knife, Alex Bau, Arroyo Low, Camo & Crooked, ANG, Amon Tobin, Voicians, Florian Kruse, Dave Summit, Bingo Players, Coke Beats, MiMOSA, Drasen, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Distinct, Still Life, Saint Kidyaki, Brothers, Heiko Laux, Retroid, Piem, Tocadisco, Nakadia, Protoculture, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, David Morales, Roxanne, JB & Scooba, Spektral, Kissy Sell Out, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Patricia Baloge, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more. In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals. We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (VR Chat). About The DJ Sessions Event Services - TDJSES is a 501c3 Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing.= For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com.  

Every DJ has had a nightmare story where things just didn't go the way as planned. Special guest Dom Solo joins us and shares some of his wild stories.

I just want a drum machine (or a time machine) And a surf board, On a lonely beach; Maybe a couple other things For sound quality, I mean really. All I see is, All I see is, Me up in a tree somewhere I didn't mean to be so Careful We're over another Volcano; I didn't mean to put that there Oh, Where are we anyway? ___ What are you doing? Galloping. Horse. I thought we were running away from Skrillex. Oh, we are. Wait. Well then, what are you doing? I'm calculating. Calculating; I thought you were galloping? It is a calculated gallop. How graceful. Theoretically. Huh. ___ “Josh” Where are you? Where am I? Where are you? I thought you'd be in LA right now! LA? Why would I be in LA right now? I'm hideous! Are you serious? Are you? Quit Joshing! Alright, i'm not Joshing--whose Joshing? You are--you're Joshing. Stoppit, I'm not. Cut To: Hey Josh. [Josh is playing a video game. He nods, barely.] Would you mind doing those dishes? Yeah, i'll get to it. [Doesn't.] ____ Where's Dillon Francis? I haven't seen him. No one has. This always happens. What happened? I'm kinda worried about him. Should we call him? We should call him. ____ Oh what, now Dillon Francis is missing? Dillon Francis, exactly. _____ Hugo Pierre Leclercq …. Follow Us. ___ So wait, what the fuck is going on? Apparently, Dillon Francis is missing. Well, where is he? Well, honestly, where isn't he? Excuse me? You're excused. I... Okay, look; First of all-- Agh! Dillon Francis can't be Nowhere, he's Everywhere. Okay, what? Secondly, Not this again-- Wait, what was I about to say? Exactly. Exactly; Dillon Francis. Who is, where, exactly? Exactly. [Dillon Francis is standing, Exactly.) This is exciting. Of course it's exciting, it's Dillon Francis. Yeah, it is. (It is.) __ Okay, so they're gathering all the DJs? They're gathering all the DJs. Every DJ? No, just all the DJs. Oh. Okay, so-- Wait, what the fuck Exactly is going on? {Exactly.} Wait, where Is-- Nobody seems to know. [Dillon Francis has been in jail for a really long time.] Oh, no! Oh, yes! Wait--are we back at ‘Dillonception' Dillonception?! I think. Wait. What? Just a minute; What channel is this? Nevermind! Nevermind, what? What are we watching. Nothing! It's not nothing; what network is this? What are we watching? What is this? It's, uh--Satelite...Cable...Tesla--uhh… Uh-huh; Let me see your router. “Router”, what's a “router”? AHA, I knew it! you have interdimensional cable. Nah. Ah-ha. Now I see. Where did you get this? I didn't. Psh, quittit, I know you can get it from Skrillex. I didn't. It was gifted. Gifted, how could he “gift” it? It's not from Skrillex. Wait, it's not. Nah, it's not I told you it was a gift, it was gifted. What do you mean “gifted”? This is extra terrestrial technology; How is this a “gift” Extraterrestrial? Wait, Skrillex is an alien? Uh, fucking, duh. I thought it was just a gimmick. --- Anyway, I don't know anything about “extraterrestrial technology”, just that it's rare--and i'm not supposed to have it. What, did all this come in the card attached? Yeah, actually. ________ What comes with a side of “I just don't feel like it,” Is it, Dillon Francis, or just Something simple-- What's in it? What's coming out of the oven, I wonder if it's muffin's or, something organic… I keep panicking and panicking with Panic at the Disco playing While i'm getting baked thanking Satan for making me a no name As I play for acres and pray I feel better with a hat on i'd feel better if my dragon was Less of a dragon and, More of a hot blonde with hypnotic somber somethings, or Anything magnetic maybe, or-- whatever flavor's yours, or-- Whoever this is for. I'm on the floor trying to remember What for, exactly. SKRILLEX. Man, I fucking hate Vegas. Yeah, me too. I'm not staying here. Just stay here. I'm not staying here. Just stay here! I'm not staying here. Just stay. No! ____ An exclusive Costume Party in The Hollywood Hills Each attendee has been given a mysterious packet with specific instructions catered to each participant ____ HIGHLIGHTS: -SupaCree's “Smear” Campaign -TiTs _______ “The Bedroom DJ” A performer in decline begins “piggybacking” ____ Are you as jaded As I am Seems like it Well at least Seems like it To Me I'm sorry We're Jaded I'm sorry We're Jaded I'm sorry We're Jaded I'm sorry I'm sorry I'm faded Something is Something was Something isn't Something wasn't Something is, Something was Something isn't Something wasn't But it was Because it was But it was Because of us ______ Hi, Hows your life? This is mine. I was just wondering If you might Know what it's like To die Like I do Why Would I Lie Should I Is there a prize for dying twice, dude? Or trying to?? Is there something I should do? Or that I should know? I don't know if I should go home or not; I'll probably close the roads-- I'm gonna gooo…. Rain. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. ©

I just want a drum machine (or a time machine) And a surf board, On a lonely beach; Maybe a couple other things For sound quality, I mean really. All I see is, All I see is, Me up in a tree somewhere I didn't mean to be so Careful We're over another Volcano; I didn't mean to put that there Oh, Where are we anyway? ___ What are you doing? Galloping. Horse. I thought we were running away from Skrillex. Oh, we are. Wait. Well then, what are you doing? I'm calculating. Calculating; I thought you were galloping? It is a calculated gallop. How graceful. Theoretically. Huh. ___ “Josh” Where are you? Where am I? Where are you? I thought you'd be in LA right now! LA? Why would I be in LA right now? I'm hideous! Are you serious? Are you? Quit Joshing! Alright, i'm not Joshing--whose Joshing? You are--you're Joshing. Stoppit, I'm not. Cut To: Hey Josh. [Josh is playing a video game. He nods, barely.] Would you mind doing those dishes? Yeah, i'll get to it. [Doesn't.] ____ Where's Dillon Francis? I haven't seen him. No one has. This always happens. What happened? I'm kinda worried about him. Should we call him? We should call him. ____ Oh what, now Dillon Francis is missing? Dillon Francis, exactly. _____ Hugo Pierre Leclercq …. Follow Us. ___ So wait, what the fuck is going on? Apparently, Dillon Francis is missing. Well, where is he? Well, honestly, where isn't he? Excuse me? You're excused. I... Okay, look; First of all-- Agh! Dillon Francis can't be Nowhere, he's Everywhere. Okay, what? Secondly, Not this again-- Wait, what was I about to say? Exactly. Exactly; Dillon Francis. Who is, where, exactly? Exactly. [Dillon Francis is standing, Exactly.) This is exciting. Of course it's exciting, it's Dillon Francis. Yeah, it is. (It is.) __ Okay, so they're gathering all the DJs? They're gathering all the DJs. Every DJ? No, just all the DJs. Oh. Okay, so-- Wait, what the fuck Exactly is going on? {Exactly.} Wait, where Is-- Nobody seems to know. [Dillon Francis has been in jail for a really long time.] Oh, no! Oh, yes! Wait--are we back at ‘Dillonception' Dillonception?! I think. Wait. What? Just a minute; What channel is this? Nevermind! Nevermind, what? What are we watching. Nothing! It's not nothing; what network is this? What are we watching? What is this? It's, uh--Satelite...Cable...Tesla--uhh… Uh-huh; Let me see your router. “Router”, what's a “router”? AHA, I knew it! you have interdimensional cable. Nah. Ah-ha. Now I see. Where did you get this? I didn't. Psh, quittit, I know you can get it from Skrillex. I didn't. It was gifted. Gifted, how could he “gift” it? It's not from Skrillex. Wait, it's not. Nah, it's not I told you it was a gift, it was gifted. What do you mean “gifted”? This is extra terrestrial technology; How is this a “gift” Extraterrestrial? Wait, Skrillex is an alien? Uh, fucking, duh. I thought it was just a gimmick. --- Anyway, I don't know anything about “extraterrestrial technology”, just that it's rare--and i'm not supposed to have it. What, did all this come in the card attached? Yeah, actually. ________ What comes with a side of “I just don't feel like it,” Is it, Dillon Francis, or just Something simple-- What's in it? What's coming out of the oven, I wonder if it's muffin's or, something organic… I keep panicking and panicking with Panic at the Disco playing While i'm getting baked thanking Satan for making me a no name As I play for acres and pray I feel better with a hat on i'd feel better if my dragon was Less of a dragon and, More of a hot blonde with hypnotic somber somethings, or Anything magnetic maybe, or-- whatever flavor's yours, or-- Whoever this is for. I'm on the floor trying to remember What for, exactly. SKRILLEX. Man, I fucking hate Vegas. Yeah, me too. I'm not staying here. Just stay here. I'm not staying here. Just stay here! I'm not staying here. Just stay. No! ____ An exclusive Costume Party in The Hollywood Hills Each attendee has been given a mysterious packet with specific instructions catered to each participant ____ HIGHLIGHTS: -SupaCree's “Smear” Campaign -TiTs _______ “The Bedroom DJ” A performer in decline begins “piggybacking” ____ Are you as jaded As I am Seems like it Well at least Seems like it To Me I'm sorry We're Jaded I'm sorry We're Jaded I'm sorry We're Jaded I'm sorry I'm sorry I'm faded Something is Something was Something isn't Something wasn't Something is, Something was Something isn't Something wasn't But it was Because it was But it was Because of us ______ Hi, Hows your life? This is mine. I was just wondering If you might Know what it's like To die Like I do Why Would I Lie Should I Is there a prize for dying twice, dude? Or trying to?? Is there something I should do? Or that I should know? I don't know if I should go home or not; I'll probably close the roads-- I'm gonna gooo…. Rain. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. ©

I just want a drum machine (or a time machine) And a surf board, On a lonely beach; Maybe a couple other things For sound quality, I mean really. All I see is, All I see is, Me up in a tree somewhere I didn't mean to be so Careful We're over another Volcano; I didn't mean to put that there Oh, Where are we anyway? ___ What are you doing? Galloping. Horse. I thought we were running away from Skrillex. Oh, we are. Wait. Well then, what are you doing? I'm calculating. Calculating; I thought you were galloping? It is a calculated gallop. How graceful. Theoretically. Huh. ___ “Josh” Where are you? Where am I? Where are you? I thought you'd be in LA right now! LA? Why would I be in LA right now? I'm hideous! Are you serious? Are you? Quit Joshing! Alright, i'm not Joshing--whose Joshing? You are--you're Joshing. Stoppit, I'm not. Cut To: Hey Josh. [Josh is playing a video game. He nods, barely.] Would you mind doing those dishes? Yeah, i'll get to it. [Doesn't.] ____ Where's Dillon Francis? I haven't seen him. No one has. This always happens. What happened? I'm kinda worried about him. Should we call him? We should call him. ____ Oh what, now Dillon Francis is missing? Dillon Francis, exactly. _____ Hugo Pierre Leclercq …. Follow Us. ___ So wait, what the fuck is going on? Apparently, Dillon Francis is missing. Well, where is he? Well, honestly, where isn't he? Excuse me? You're excused. I... Okay, look; First of all-- Agh! Dillon Francis can't be Nowhere, he's Everywhere. Okay, what? Secondly, Not this again-- Wait, what was I about to say? Exactly. Exactly; Dillon Francis. Who is, where, exactly? Exactly. [Dillon Francis is standing, Exactly.) This is exciting. Of course it's exciting, it's Dillon Francis. Yeah, it is. (It is.) __ Okay, so they're gathering all the DJs? They're gathering all the DJs. Every DJ? No, just all the DJs. Oh. Okay, so-- Wait, what the fuck Exactly is going on? {Exactly.} Wait, where Is-- Nobody seems to know. [Dillon Francis has been in jail for a really long time.] Oh, no! Oh, yes! Wait--are we back at ‘Dillonception' Dillonception?! I think. Wait. What? Just a minute; What channel is this? Nevermind! Nevermind, what? What are we watching. Nothing! It's not nothing; what network is this? What are we watching? What is this? It's, uh--Satelite...Cable...Tesla--uhh… Uh-huh; Let me see your router. “Router”, what's a “router”? AHA, I knew it! you have interdimensional cable. Nah. Ah-ha. Now I see. Where did you get this? I didn't. Psh, quittit, I know you can get it from Skrillex. I didn't. It was gifted. Gifted, how could he “gift” it? It's not from Skrillex. Wait, it's not. Nah, it's not I told you it was a gift, it was gifted. What do you mean “gifted”? This is extra terrestrial technology; How is this a “gift” Extraterrestrial? Wait, Skrillex is an alien? Uh, fucking, duh. I thought it was just a gimmick. --- Anyway, I don't know anything about “extraterrestrial technology”, just that it's rare--and i'm not supposed to have it. What, did all this come in the card attached? Yeah, actually. ________ What comes with a side of “I just don't feel like it,” Is it, Dillon Francis, or just Something simple-- What's in it? What's coming out of the oven, I wonder if it's muffin's or, something organic… I keep panicking and panicking with Panic at the Disco playing While i'm getting baked thanking Satan for making me a no name As I play for acres and pray I feel better with a hat on i'd feel better if my dragon was Less of a dragon and, More of a hot blonde with hypnotic somber somethings, or Anything magnetic maybe, or-- whatever flavor's yours, or-- Whoever this is for. I'm on the floor trying to remember What for, exactly. SKRILLEX. Man, I fucking hate Vegas. Yeah, me too. I'm not staying here. Just stay here. I'm not staying here. Just stay here! I'm not staying here. Just stay. No! ____ An exclusive Costume Party in The Hollywood Hills Each attendee has been given a mysterious packet with specific instructions catered to each participant ____ HIGHLIGHTS: -SupaCree's “Smear” Campaign -TiTs _______ “The Bedroom DJ” A performer in decline begins “piggybacking” ____ Are you as jaded As I am Seems like it Well at least Seems like it To Me I'm sorry We're Jaded I'm sorry We're Jaded I'm sorry We're Jaded I'm sorry I'm sorry I'm faded Something is Something was Something isn't Something wasn't Something is, Something was Something isn't Something wasn't But it was Because it was But it was Because of us ______ Hi, Hows your life? This is mine. I was just wondering If you might Know what it's like To die Like I do Why Would I Lie Should I Is there a prize for dying twice, dude? Or trying to?? Is there something I should do? Or that I should know? I don't know if I should go home or not; I'll probably close the roads-- I'm gonna gooo…. Rain. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. ©

Join us on an exhilarating audio journey as we delve into the captivating realm where beats meet spoken word. In this episode, we unveil the compelling reasons why every DJ, without exception, should seize the mic and launch their very own podcast.From sharing untold stories behind the decks to exploring the eclectic influences that shape their sonic landscapes, DJs have a unique perspective to offer. Tune in to discover how the art of podcasting not only extends their creative reach but also connects them intimately with fans, forging a tighter bond that transcends the dance floor.We explore the intersection of beats and narratives, revealing how podcasting can become an extension of a DJ's artistic identity. Dive into the deep tracks of insights as we unravel how podcasts can amplify your DJ journey, boost your brand, and elevate your status in the music industry.Whether you're a turntable veteran or an aspiring DJ looking to amplify your presence, this episode is your backstage pass to the world of podcasting. Don't miss out on the rhythm of this conversation that could redefine your DJ career.Hit that play button and let your headphones be your guide as we sync up the beats of podcasting with the beats of your soul.

Join us in this episode as we dive deep into the art of playlist curation for DJ events. Whether you're spinning tunes at a wedding, rocking a club, or bringing the beats to a corporate function, having the perfect playlist is essential to creating an unforgettable experience.We'll explore the secrets behind crafting the ultimate DJ event playlist, from selecting the right tracks to creating seamless transitions that keep the energy high and the dance floor packed. Discover the science behind reading the crowd and adapting your playlist on the fly to ensure maximum enjoyment for everyone.With guest DJs sharing their expertise, we'll discuss different genres, tempos, and moods that suit various events, and delve into the art of blending timeless classics with the hottest tracks of today. From creating a vibrant atmosphere to setting the right mood for different occasions, this episode will equip you with the tools to become a playlist master.Join us as we unveil insider tips, tricks, and hacks for playlist creation that will take your DJ game to the next level. Get ready to unleash the power of music and leave a lasting impression on every event you DJ. So grab your headphones, hit play, and let's embark on a sonic journey of playlist perfection!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, we delve into the world of DJ equipment and shine a spotlight on the undeniable benefits of incorporating an external mixer into your setup. Join us as we explore the reasons why every DJ, regardless of skill level or experience, should seriously consider utilizing an external mixer. From improved sound quality and flexibility to enhanced creative control, we'll uncover the advantages that come with this essential piece of gear. We'll also dive into the various features and functionalities of external mixers, discussing how they can elevate your DJing skills and take your performances to new heights. Whether you're a beginner exploring different equipment options or an experienced DJ looking to enhance your setup, this episode will provide valuable insights and expert advice on why an external mixer should be an integral part of every DJ's arsenal. Tune in and discover how this powerful tool can transform your DJing journey.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, we dive into the essential knowledge and skills that every DJ should possess. Whether you're a beginner looking to embark on your DJ journey or an experienced DJ seeking to refine your craft, this episode is packed with valuable insights and tips to elevate your skills to new heights.Join us as we explore the foundational aspects of DJing, from understanding music theory and beatmatching to mastering the art of harmonic mixing. We'll delve into the technical aspects of DJ equipment, including turntables, mixers, and controllers, providing guidance on setup, troubleshooting, and optimizing sound quality.We'll also discuss the importance of reading the crowd and adapting your set to create an engaging and energetic atmosphere. Discover the art of track selection, building a cohesive set, and incorporating creative transitions to captivate your audience and keep them on their feet.Furthermore, we'll delve into the world of music genres, exploring different styles and techniques that DJs can employ to create unique and memorable sets. Whether it's house, techno, hip-hop, or any other genre, we'll provide insights on how to curate playlists, discover new tracks, and stay ahead of the curve in an ever-evolving musical landscape.Additionally, we'll touch on performance techniques, stage presence, and the importance of connecting with your audience. We'll discuss ways to overcome performance anxiety, engage with the crowd, and leave a lasting impact with your DJ sets.Whether you're a club DJ, mobile DJ, or aspiring to perform at festivals and events, this episode will equip you with the fundamental knowledge and skills necessary to thrive in the DJing world. Join us as we unravel the secrets of successful DJs and empower you to take your craft to the next level.Tune in to "The Fundamental Knowledge Every DJ Should Have" and embark on a journey of growth, mastery, and endless possibilities in the world of DJing. Get ready to elevate your skills and create unforgettable experiences for your audience!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this eye-opening episode, we delve into the essential topic of why every DJ needs an external mixer in their arsenal. Join us as we explore the undeniable advantages and transformative potential of incorporating an external mixer into your DJ setup.We dive deep into the technical aspects, discussing how an external mixer provides enhanced control, precision, and flexibility over your audio output. Learn how this powerful tool allows DJs to fine-tune their mixes, seamlessly transition between tracks, and manipulate sound in ways that elevate their performances to new heights.Beyond the technical benefits, we delve into the creative possibilities that an external mixer unlocks. From advanced effects processing to live remixing capabilities, we showcase how this versatile device empowers DJs to unleash their artistic vision and craft unique, immersive experiences for their audiences.Join us as we invite industry experts and experienced DJs to share their personal insights and experiences with using an external mixer. Gain valuable tips on selecting the right mixer for your needs, understanding its features, and integrating it seamlessly into your workflow.Whether you're a beginner DJ looking to take your skills to the next level or a seasoned professional seeking to enhance your performances, this episode is a must-listen. Discover why an external mixer is not just a luxury but an essential tool that every DJ should have in their arsenal. Get ready to amplify your creative possibilities and elevate your DJing game with the power of an external mixer!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, we dive deep into the world of DJing and explore the key accessories that every DJ needs to elevate their game. From headphones to controllers, mixers to cases, we leave no stone unturned as we discuss the essential gear that can make or break a DJ's performance. Join us as we uncover the secrets behind these accessories, their functionalities, and how they contribute to creating unforgettable sets. Whether you're a seasoned pro or just starting your DJ journey, this episode is packed with valuable insights to help you enhance your skills and take your DJing to the next level. Get ready to unlock the potential of your DJ setup with the key accessories that every DJ should have.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We dive deep into the world of DJing and explore the key accessories that every DJ should own. Whether you're a seasoned professional or just starting out, having the right tools can make a world of difference in your performances.Join us as we discuss the must-have accessories that can take your DJing skills to the next level. From the essential headphones that allow you to fine-tune your mixes to the versatile DJ controller that serves as the heart of your setup, we leave no stone unturned.We also explore the importance of quality cables and connectors for seamless audio transmission, and the benefits of having a reliable laptop stand to keep your equipment organized and within reach. Plus, we delve into the world of DJ bags and cases that ensure the safety and portability of your gear.Whether you're interested in turntablism, digital DJing, or a combination of both, this episode is packed with valuable insights and recommendations to help you build your ultimate DJ setup. So, join us as we uncover the key accessories that every DJ should own and elevate your performances to new heights.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Join us in this episode as we dive into the world of DJing and explore the essential gear and accessories that every DJ needs to elevate their craft. From beginners to seasoned professionals, understanding and acquiring the right tools can make a world of difference in your DJing journey.We'll discuss the must-have accessories that enhance your performance, including headphones, carrying cases, and cables. Learn how investing in quality headphones not only ensures accurate monitoring but also allows you to fine-tune your mixes and capture every nuance of your tracks. Discover the importance of sturdy and reliable carrying cases to protect your gear and keep it organized, ensuring seamless setups and hassle-free travel.But that's not all. We'll also explore the significance of cables and connectors in your DJ setup. From RCA cables to XLRs, understanding the different types and using the right ones can prevent signal loss, maintain audio quality, and ensure a solid connection between your equipment.Additionally, we'll delve into other essential accessories that take your DJing experience to the next level. From DJ controllers and vinyl cleaning kits to equipment stands and lighting solutions, we'll explore the wide range of gear that enhances your creativity, performance, and overall enjoyment.Tune in to this episode as we guide you through the world of essential DJ gear, providing insights, tips, and recommendations on the must-have accessories that will enhance your DJing skills, protect your investment, and elevate your performances to new heights. Get ready to take your DJ setup to the next level!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this captivating episode, we explore the critical importance of audio knowledge for every DJ. Join us as we uncover the power of understanding sound and how it can transform your DJing journey. We dive deep into the technical aspects of audio, covering topics such as signal flow, EQing, mixing techniques, and sound system optimization. Beyond the technicalities, we also delve into the artistic side of sound, discussing how a nuanced understanding of audio can elevate your creativity and musical expression as a DJ. From mastering the art of blending tracks seamlessly to crafting immersive sonic experiences, we reveal how a comprehensive understanding of audio can set you apart and captivate your audience. We also address the practical implications of sound knowledge, such as troubleshooting audio issues during live performances and collaborating effectively with sound engineers. Whether you're a beginner DJ looking to build a strong foundation or an experienced professional seeking to deepen your understanding, this episode provides valuable insights and practical tips to help you harness the power of audio in your DJing journey. Tune in and discover why every DJ needs to embrace the transformative potential of sound.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In each episode, we'll dive deep into the intricacies of sound and its impact on the DJing experience. From the fundamentals of sound waves and frequencies to advanced techniques in audio engineering, we'll provide you with the knowledge and insights to enhance your DJ skills and create unforgettable moments on the dance floor.Our expert guests, including renowned DJs, sound engineers, and industry professionals, will share their expertise and real-world experiences, shedding light on the importance of sound in crafting immersive and captivating DJ sets. We'll discuss topics such as speaker systems, acoustics, EQing, mixing techniques, and much more, uncovering the secrets behind exceptional sound quality and how it can transform your performances.Discover how mastering sound can enhance your ability to read the crowd, create seamless transitions, and evoke powerful emotions through music. We'll also explore the intersection of sound and technology, discussing the latest advancements in DJ equipment, software, and production tools that can help you achieve the perfect sonic experience.Whether you're a beginner DJ looking to lay a solid foundation in sound principles or an experienced professional seeking to refine your craft, this podcast will provide you with the essential knowledge and practical advice to take your DJing skills to the next level.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this podcast episode, we'll be exploring the benefits of creating a unique playlist for every event as a DJ. While some DJs may prefer to rely on a pre-made playlist, crafting a custom playlist for each event can elevate your DJ game and set you apart from the competition. Join us as we discuss the power of personalization and how it can help you create a memorable experience for your clients and their guests. We'll be sharing tips and tricks for building the perfect playlist, as well as discussing the importance of researching your audience and understanding the event's purpose to ensure a successful performance. If you're looking to take your DJ skills to the next level and enhance your performance, this podcast is a must-listen. Tune in to "Why Every DJ Should Create a Unique Playlist for Each Event" and discover the playlist advantage!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

After a DJ gig, it's common to feel a mix of emotions. Here are a few possible mindsets:Satisfaction: You might feel satisfied after a gig if you played well, the crowd was engaged, and you received positive feedback. This mindset can be motivating and encouraging, helping you to continue improving your skills.Disappointment: If you didn't perform as well as you'd hoped, or if the crowd wasn't as engaged as you'd expected, you might feel disappointed after a gig. This mindset can be disheartening, but it's important to remember that even the best DJs have off nights.Reflection: It's important to reflect on your performance after each gig, regardless of how it went. This can help you identify areas for improvement and make adjustments for future gigs. It's also a good idea to ask for feedback from other DJs or event organizers to get an outside perspective.Gratitude: After a successful gig, it's natural to feel grateful for the opportunity to share your music and connect with people through your art. This mindset can help you maintain a positive attitude and appreciate the work that goes into being a DJ.No matter what mindset you have after a DJ gig, it's important to stay focused on your goals and continue working hard to improve your skills. With practice and dedication, you can continue to grow as a DJ and achieve your musical ambitions.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

As a DJ, having the right accessories can make all the difference in your performance. Here are some must-have accessories that every DJ should consider investing in:Headphones: High-quality headphones are essential for DJs. They allow you to preview and cue up tracks, and also help you hear the mix more accurately. Look for headphones that are comfortable, durable, and have good sound quality.Laptop Stand: A laptop stand can help keep your laptop at a comfortable height and angle, making it easier to see and access your DJ software. Look for a sturdy stand that's adjustable and portable.DJ Controller: A DJ controller is a hardware device that allows you to control your DJ software using physical knobs, faders, and buttons. It can help you create more complex mixes and add effects to your tracks.DJ Mixer: A DJ mixer is a device that allows you to mix and blend multiple audio sources. It's an essential tool for DJs who perform live and need to switch between tracks seamlessly.Cables: Having a variety of cables on hand is important for DJs. Make sure you have the necessary cables to connect your equipment, including XLR, RCA, and USB cables.Carrying Case: A carrying case or bag can help you protect your equipment when traveling to gigs. Look for a case that's durable, waterproof, and has compartments for all of your gear.Portable Speaker: A portable speaker can come in handy when performing at small venues or outdoor events. Look for a speaker that's lightweight, durable, and has good sound quality.Remember, the accessories you choose will depend on your specific needs and style as a DJ. Make sure you do your research and invest in high-quality equipment that will help you perform at your best.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's true that every DJ has bad moments, even the most experienced and successful ones. DJ Foxy D may have experienced some challenging moments during her career, but it's important to remember that mistakes and setbacks are a natural part of the learning process.As a DJ, it's important to be prepared for unexpected situations that may arise during a performance. This could include technical difficulties, a difficult crowd, or other unforeseen circumstances. One way to mitigate these challenges is to practice and prepare as much as possible before a performance, including having backup equipment and contingency plans in case something goes wrong.It's also important to remember that mistakes happen and to not be too hard on oneself when they do. Being able to adapt and recover from mistakes is an important skill for any DJ, and can even lead to new creative opportunities.Overall, it's important for DJs to stay focused on their passion for music and their love of performing, even during challenging moments. With hard work, dedication, and a willingness to learn from mistakes, any DJ can overcome bad moments and continue to grow and succeed in their career.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Here are some reasons why a podcast can be a valuable addition to a DJ's marketing and branding strategy:Reach new audiences: Podcasts can help DJs reach new audiences who may not be familiar with their music. By providing a platform to showcase their sound and share their personality, DJs can attract new fans who may not have discovered them otherwise.Build a community: Podcasts can help DJs build a community around their music and brand. By engaging with listeners through their podcast, DJs can foster a sense of connection and loyalty that can translate into support for their gigs, merchandise, and other projects.Establish expertise: Hosting a podcast can also help DJs establish themselves as experts in their field. By sharing their knowledge and insights on music, DJing, and related topics, they can gain credibility and authority within the industry.Showcase new music: DJs can use their podcast to showcase new and upcoming music, both their own and from other artists. This can help promote their own music as well as support the broader DJ and music community.Develop their skills: Hosting a podcast requires a range of skills, including communication, editing, and content creation. By developing these skills, DJs can become more versatile and marketable as media personalities.Of course, starting and maintaining a successful podcast takes time and effort, and it may not be the right fit for every DJ. However, for those who have the interest and resources to do so, a podcast can be a valuable tool for building their brand and engaging with fans.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Using an external mixer is not necessarily a requirement for every DJ, as it depends on the type of setup, equipment, and preferences of the DJ. Many modern DJ setups, especially those that utilize digital controllers and software, have built-in mixers that can handle the mixing and blending of audio signals without the need for an external mixer.However, using an external mixer can offer several advantages for DJs:Flexibility: An external mixer allows DJs to have greater flexibility in terms of audio routing, signal processing, and customization of their sound. It can provide more options for adjusting EQ, effects, and levels, which can help in achieving a unique and personalized mix.Reliability: External mixers are often built to withstand heavy use and are designed to be durable. They can provide a reliable audio processing solution that can handle the demands of a professional DJ setup, and can serve as a backup option in case of technical issues with other equipment.Compatibility: An external mixer can work with a variety of DJ setups, including vinyl turntables, CDJs, or other external audio sources. This can be useful for DJs who prefer to use a combination of different types of equipment or who work with older or specialized gear.Performance: Some DJs prefer the tactile feel and control that an external mixer provides. Physical knobs, faders, and buttons can offer a more hands-on approach to mixing, allowing for precise adjustments and a more intuitive workflow during performances.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

There are some accessories that are generally considered essential for DJs. Here are some of the key accessories that every DJ may find useful:Headphones: A good pair of headphones is essential for DJs to preview and cue up tracks, as well as to monitor the sound quality and mix the music.Laptop stand: A laptop stand is useful for DJs who use a laptop to control their music software. It can help to elevate the laptop screen to eye level, which reduces neck strain and makes it easier to see the screen while performing.DJ controller/mixer: A DJ controller or mixer is essential for DJs who use digital music software to mix and manipulate music. These tools allow DJs to control the music and effects, adjust the volume and equalization, and create a seamless mix.Carrying case/bag: DJs need to transport their equipment to and from gigs, and a carrying case or bag can help to protect the equipment and make it easier to transport.Slipmats: Slipmats are essential for DJs who use vinyl records, as they help to reduce friction and allow the records to spin smoothly on the turntables.Cables and adapters: DJs need a variety of cables and adapters to connect their equipment, including RCA cables, XLR cables, and adapters for different types of inputs and outputs.Overall, these accessories can help DJs to perform more effectively, protect their equipment, and transport it safely. However, it's worth noting that every DJ has different needs and preferences, and may require additional or different accessories depending on their equipment and performance style.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

There are many reasons why every DJ should strive to DJ on the radio. Here are a few:Reach a wider audience: Radio is a powerful medium that can reach millions of people. By DJing on the radio, you have the potential to reach a wider audience than you would at a live show or online.Build your reputation: DJing on the radio can help you build your reputation as a DJ and gain credibility in the industry. It's a great opportunity to showcase your skills and connect with new fans.Learn new skills: DJing on the radio can be challenging as you'll need to adjust your mixing style to suit the constraints of radio programming. However, this can help you develop new skills and improve your overall DJing abilities.Promote your brand: DJing on the radio can be an excellent way to promote your brand and reach a wider audience. You can share your social media handles and website during your set and promote upcoming shows or releases.Connect with other DJs and industry professionals: Radio stations often have a network of DJs and industry professionals that you can connect with. This can lead to future collaborations and opportunities.Overall, DJing on the radio is a valuable experience that can help you reach a wider audience, build your reputation, and learn new skills. It's an opportunity that every DJ should strive for.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

While it's not necessarily required for every DJ to pick a specific niche, it can be beneficial in terms of establishing a unique brand and building a dedicated fanbase.Choosing a niche can help a DJ differentiate themselves from others and carve out a specific niche within the larger music industry. This can include focusing on a specific genre or sub-genre, a particular era of music, or a certain type of event or venue.By establishing a niche, a DJ can build a loyal following of fans who appreciate their specific style and expertise. This can also make it easier for the DJ to book gigs and attract new opportunities, as they have a clear and recognizable brand.However, it's important to note that while choosing a niche can be beneficial, it's not a requirement for every DJ. Some DJs prefer to be versatile and play a wide range of music to appeal to a broader audience. Ultimately, it's up to each individual DJ to decide what approach works best for their personal brand and career goals.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A podcast can provide a platform for a DJ to showcase their skills and share their music with a broader audience. It can also be a way to connect with fans on a deeper level by sharing personal stories and insights into the DJ's creative process.However, creating and maintaining a successful podcast takes time and effort, and it may not be the right fit for every DJ. Additionally, there are many other ways for DJs to build their brand and connect with fans, such as social media, live performances, and collaborations with other artists.Ultimately, it's up to each individual DJ to decide whether a podcast aligns with their personal brand and career goals. While it can be a valuable tool, it's not a requirement for success in the music industry.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Develop your own unique style: To stand out in the competitive world of DJing, it's important to develop your own unique style. This can be achieved by experimenting with different genres, creating your own mashups, and incorporating your own personal flair into your performances.Network and collaborate: Networking and collaborating with other DJs, music producers, and industry professionals can help you gain exposure and build your brand. Attend events, connect with other DJs on social media, and consider collaborating on remixes or live shows.Create a strong online presence: Your online presence is crucial to growing your DJ brand. Make sure you have a professional website and active social media accounts that showcase your music, performances, and upcoming events. Consider creating a blog or podcast to share your thoughts on music and DJing.Produce and release your own music: Producing and releasing your own music can help establish you as a serious artist and expand your fanbase. Consider working with a label or distributing your music independently on platforms like Bandcamp or SoundCloud.Perform regularly: Regular gigs are essential to building your DJ brand. Start by performing at local clubs and events and work your way up to larger venues and festivals. Don't be afraid to travel to new cities or even countries to expand your reach.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Creating a playlist before a gig is generally a good practice for DJs. Here are a few reasons why:Be prepared: Having a playlist prepared in advance can help a DJ be better prepared for their set. They will know which songs they are going to play and in what order, which can help them create a cohesive and engaging performance.Time management: Having a playlist can also help a DJ manage their time more effectively. They will know how long each song is and can plan their set accordingly, making sure they have enough music to fill their allotted time slot.Audience engagement: A well-curated playlist can help a DJ connect with their audience. By knowing what songs are popular or trending, a DJ can create a playlist that will resonate with the crowd and keep them engaged throughout the set.Overall, while it's not a requirement, creating a playlist before a gig is generally considered a good practice that can help a DJ be better prepared, manage their time effectively, and connect with their audience.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Here are some essential accessories that DJs often use:Headphones - A good pair of headphones is essential for any DJ. They help the DJ cue up the next track and monitor the mix.Laptop or DJ controller - This is the main tool for any modern DJ. The laptop or DJ controller contains the music library and provides the software and hardware interface for mixing.DJ mixer - A mixer is necessary to blend and transition between different tracks. It allows the DJ to adjust the volume levels, EQ, and effects of each track.Audio cables - High-quality audio cables are essential for delivering clean and clear sound. DJs need a variety of cables, including RCA, XLR, and quarter-inch cables.Record or CD cases - DJs need to store and transport their music collection. Record or CD cases provide a safe and organized way to carry music to gigs.Carrying bag - A durable carrying bag is essential for transporting and protecting the DJ equipment. It should be able to hold the laptop, DJ controller, cables, headphones, and other accessories.Lighting - Lighting can help create a more immersive experience for the audience. DJs often use LED lights, lasers, and strobes to enhance the visual effects of their performance.Backup batteries and chargers - In case of power failure, DJs need backup batteries or chargers to keep their equipment running.USB flash drive - A USB flash drive can be used to backup music files or as a backup source of music in case of a laptop or controller failure.Portable speaker - A portable speaker can be used as a backup sound system or for small gigs where a full PA system is not necessary.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Starting a podcast is the best outlet for you to share DJ mixes and promote yourself. It's an exciting new way to reach people and build an audience, especially if you live in a more isolated area or don't have a strong music scene. Podcasting For DJs is a laser guided step-by-step process that will save you lots of time while setting up a powerful system for broadcasting music to the world. Discover the secrets of delivering a modern mixtape while building an interactive online artist showcase. Become more independent and make your beats available on a universal frequency that every computer, mobile device and internet connected car around the planet can tune into. Right now most DJs don't even get to decide the sound quality of their own mixes. Would you be excited to eat at a restaurant where the landlord of the building did the final seasoning of your meal instead of the chef?Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Yes, every DJ should have a basic understanding of sound in order to create the best possible listening experience for their audience. Understanding sound can help a DJ make informed decisions about the music they play, the equipment they use, and the way they manipulate sound during their set.Here are a few reasons why understanding sound is important for DJs:Sound quality: DJs need to understand how to achieve the best possible sound quality for their audience. This includes knowing how to properly set up and calibrate their equipment, understanding how different types of speakers and amplifiers affect sound, and knowing how to avoid common sound problems like feedback and distortion.Music selection: Understanding sound can help a DJ make better decisions about the music they play. For example, a DJ who understands the frequency range of different instruments can choose tracks that complement each other and create a cohesive sound.Mixing and effects: DJs use a variety of techniques to manipulate sound during their sets, including EQ, filtering, and effects like delay and reverb. Understanding how these tools work can help a DJ create a more dynamic and engaging mix.Communication with sound engineers: In some cases, a DJ may need to work with a sound engineer to set up their equipment or adjust the sound during their set. If the DJ has a basic understanding of sound, they will be better equipped to communicate with the engineer and ensure the best possible sound quality for their audience.Overall, understanding sound is an important part of being a successful DJ. While it's not necessary to have a deep technical knowledge of sound, a basic understanding of sound principles and techniques can help a DJ create a more enjoyable listening experience for their audience.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Choosing a market that a DJ knows can be beneficial, as it allows them to leverage their existing network and connections. They can also use their knowledge of the market to identify popular music genres and artists, which can help them create a playlist that resonates with the local audience.However, it's worth noting that DJs can also expand their horizons and explore new markets. By doing so, they can gain new experiences, expand their network, and discover new music genres that they can incorporate into their playlists. Additionally, a DJ who can adapt to different markets and audiences may be more versatile and in-demand than one who only specializes in one market.Ultimately, the decision of whether to choose a market they know or explore new ones depends on the DJ's goals and interests. Some may prefer to stick to a specific market to build a strong local following, while others may prefer to explore different markets to expand their reach and gain new experiences.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

As a DJ, you have an important role in the music industry to share your knowledge and experience with upcoming DJs. Here are some tips on how you can effectively teach and mentor aspiring DJs:Be approachable and willing to share: Let aspiring DJs know that you are open to questions and willing to share your knowledge. Offer tips and advice, and don't be afraid to share your mistakes and what you learned from them.Encourage creativity and individuality: Every DJ has their own unique style and sound. Encourage aspiring DJs to explore their creativity and find their own voice instead of copying someone else's style.Emphasize the importance of practice: DJing requires a lot of practice and dedication. Encourage aspiring DJs to spend time perfecting their skills and experimenting with new techniques.Help aspiring DJs develop their own brand: In today's music industry, it's important for DJs to have a strong brand and online presence. Help aspiring DJs develop their brand by offering advice on marketing, social media, and networking.Share opportunities and connections: As an established DJ, you likely have connections in the music industry. Use your network to help aspiring DJs find gigs, connect with other DJs, and get exposure.By sharing your knowledge and experience with aspiring DJs, you can help build a stronger and more vibrant music community.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

As a DJ, it's important to understand the value of your craft and know your worth. Here are some reasons why every DJ should understand the value they bring to the table:Ensures Fair Compensation: Knowing your worth as a DJ means that you can negotiate fair compensation for your services. This includes setting appropriate rates, establishing boundaries, and ensuring that you are paid what you are worth.Builds Confidence: When you know your worth, you feel more confident in your abilities as a DJ. This confidence can translate into better performances, stronger relationships with clients, and a more successful career overall.Helps You Stand Out: In a crowded industry, knowing your worth can help you stand out from the competition. By highlighting your unique skills, experience, and value, you can attract more clients and opportunities.Promotes Self-Respect: Knowing your worth as a DJ promotes self-respect and a sense of pride in your work. This can lead to greater job satisfaction, increased motivation, and a more fulfilling career.Encourages Growth: When you understand your value as a DJ, you are more likely to invest in your craft and seek out opportunities for growth and improvement. This can lead to a stronger skill set, greater creativity, and more innovative performances.In summary, knowing your worth as a DJ is crucial for building a successful and fulfilling career. By understanding the value you bring to the table, you can negotiate fair compensation, build confidence, stand out from the competition, promote self-respect, and encourage growth.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Using an external mixer for mobile events can offer several benefits, such as improved sound quality, greater flexibility and control, and the ability to connect to various audio sources. Additionally, an external mixer can provide a backup option in case of technical issues with the primary equipment.Tips for using an external mixer for mobile events include choosing the right mixer for your needs, understanding the mixer's features and functions, setting up the mixer properly, and testing the equipment before the event.Ultimately, whether or not a DJ should use an external mixer for mobile events depends on their individual preferences and needs. It may be worth considering the benefits and tips mentioned above when making a decisionSupport this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Looking to step up your DJ game? Check out this clip on the essential DJ gear accessory that every DJ needs to have in their kit! In this video, we'll explore the benefits of this must-have accessory and how it can take your performances to the next level. Whether you're a beginner or an experienced pro, this accessory is a game-changer that will make your sets stand out from the rest. Don't miss out on this crucial piece of equipment that every DJ needs to have in their arsenal. Watch now and elevate your DJ game!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 8 of #djplayist, airing January 10th, we're going to be talking about the secret to successful DJing events. Tune in to learn how to prep your sets, how to select the right songs, and how to create the perfect atmosphere for your event.Ready to make your next party a hit? In this clip from #djplayist, we're going to be discussing the secret to successful DJing events! Tune in to learn how to prep your sets, how to select the right songs, and how to create the perfect atmosphere for your event. Don't miss it!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 7 of Unbelievable Advice That Every DJ Needs to Hear, I give some incredible advice that every DJ needs to hear.If you're looking to make it as a DJ, then you need to hear this advice! In this clip, I'll teach you how to create powerful mixes, how to build a successful DJ career, and more. If you're ready to change your music career, then listen to this clip and apply what you learn to your DJing!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 7 DJ Dre Ovalle talking about why every dj needs an external mixer.An external mixer is a invaluable tool for any DJ, and is especially important if you're using software like Serato or Traktor. By giving you more control over your sound, an external mixer can help you create better sounding mixes. In this clip, we'll show you how to choose the right external mixer for your needs and why it's so important for your DJ career.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 7, DJ Dre Ovalle talks about why every DJ should use an external mixer for their DJ setup.External mixers allow DJs to control multiple sources of sound with just one interface, which is a huge asset for any DJ. Not only does this make mixing and monitoring much easier, but it also gives DJs more control over their sound reproduction. If you're looking for a more efficient DJ setup, an external mixer is a great investment!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 7 DJ Dre Ovalle is explaining what accessory every DJ needs. If you're a DJ, then you know that having the right equipment can make a huge difference in your sets. DJ Dre Ovalle is sharing with you what accessory every DJ needs. Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of Things EVERY DJ Should Know, I'm talking to DJ Dre Ovalle about the importance of branding and developing a strong online presence as a mobile DJ.If you're thinking of entering the mobile DJ business, then you should definitely watch this episode! DJ Dre Ovalle is one of the most respected mobile DJs in the industry, and he has some great advice for budding DJs. In this episode, you'll learn about the importance of branding, developing a strong online presence, and more. So make sure to watch, and good luck with your mobile DJing business!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 5 of the We Create The Vibes Podcast, DJ Soul tells us why every DJ should understand sound.Sound is an important part of DJing, and understanding how sound works is crucial for success. In this clip, we discuss why sound is so important and how it affects the way we DJ. I hope that this clip inspires you to learn more about sound and how it affects your DJing!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this clip from episode 4 of our series " EVERY DJ HAS TO DEAL WITH THIS ONE THING," DJ Tactics shares how he dealt with a branding issue.Every DJ has to deal with this one thing - a branding issue. In this episode of our series, DJ Tactics shares how he successfully dealt with a branding issue. From starting over to rebuilding his reputation, Tre shares the steps he took to get back on his feet and back to being a successful DJ. Tune in to learn how to deal with a branding issue in your DJ career!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Why Every DJ Should START a PODCAST? If you're a DJ or musician, then podcasting is a great way to share your music with the world. In this video, we're sharing a clip from our recent episode where we discuss why podcasting is so important and what you can do to start a podcast. Be sure to check out our website and subscribe to our channel to stay up to date on the latest news and updates about our series!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Every DJ should want this advantage? The advantage of being an open format DJ! Being an open format DJ always you to DJ a multitude of events. Literally you can DJ multiple genres with more opportunities!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

#workinginradio #radiodj #radiojobsWhether you're just starting out or you're already a successful DJ, working in radio is a great way to grow your DJ career. In this clip, we'll discuss some of the benefits of working in radio and how you can use it to your advantage. Tune in to find out more!Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Does Every DJ Break The Law Monday Night Live Chat with Dan Carpenter, Michael Joseph and John Young #DJNTV Getting started as a DJ? Beginner DJ training is available for FREE at http://www.djntvdjschool.com DJNTV DJ School Get Online Training for mobile DJs at: http://www.djntvtraining.com Sponsors: http://www.djeventplanner.com http://www.electrovoice.com https://DannyMax.com/ http://www.djtrivia.com http://www.proxdirect.com http://www.nlfxpro.com http://www.promoonly.com http://www.odysseycases.com http://www.perfectportals.ca/ http://www.jmazlighting.com

Back today with a quick rant about the ONE THING every DJ needs when looking for work, no exceptions.

Every DJ knows this story, it's a tale that's been told and lived by thousands of DJs for years and it will never change. Growing up you talk to your friends and family about how you dream of travelling the world and seeing the sights; For nearly a decade, Fred V wasn't just Fred V, he was Fred V & Grafix. The two built a brand of melodic liquid drum and bass music, and in 2019, decided to try out solo careers. Fred V brings the world his debut solo album, aptly titled Radiate, and we have a discussion on how he's continuing to evolve in the drum and bass world. Visit the website: https://www.bedroombeethovens.com/ Support the show on Patreon: https://www.patreon.com/bedroombeethovens

Every DJ's favorite topic (Requests) and getting out of your comfort zone.

Submit your track, mix for repost or premiere? ➩promo@8day.ca Stream our Playlist on Spotify: bit.ly/8daymtl ♩ ♪ ♫ ∞ ♥ Download the WAV now for free here:

This weekend we have pleasure to present TiDUs - techno enthusiast since 2007. The real interest to stand behind the decks came in 2015. He thought that there is so much good music out there from talented producers and nobody is playing them. Every DJ has their own style, but they never played the way he liked and that's why he decided to start my own career. His sound has a lot of variety between Techno, Tech House, Minimal and Melodic Techno. Originally based in Berlin. The City itself, which is well known for one of the capitals of electronic music, had a big influence on him and formed his taste in the music today. He building up sets, to give the audience a journey through sounds and emotions. And this one in no difference! Enjoy and don't forget to share! Follow & Support: Soundcloud: https://soundcloud.com/tidus-3 Mixcloud: https://www.mixcloud.com/tidus_official/ Instagram: https://www.instagram.com/tidus_official/ Resident Advisor: https://www.residentadvisor.net/dj/tidus Tracklist: 1. Jon Gurd - Together (Tom Demac Remix) 2. Nora En Pure - Bartok 3. Eli & Fur - Big Tiger 4. Clap Codex - Ashes & Snow 5. Undercatt - Britannia 6. Melawati - Daliah (Maceo Plex Remix) 7. Hollt - Halos 8. Julian Wassermann - Ultraschall 9. Stylo, Space Motion - Sunshine 10. Monkey Safari - Safe

Every DJ Into One Dj --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week we have a conversation with a very knowledgeable DJ who shares a lot of useful tips! And of course we start the show with our usual sh*t talk! Lol. Enjoy!

A Bank Holiday Special for MMH - The Home of Rock Radio.Every DJ was given the take of their Top 10 most influential albums no matter what genre they were. I couldn't do that and restrict it.... So I hit the Top 25 with honourable mentions and additional tracks. The epic and strange playlist is as follows....Honourable mentions are denoted “**” and albums in brackets. ----- THE TOP 25 25: White Zombie – Cosmic Monsters Inc (La Sexorcisto) **Whale – Hobo Humpin’ Slobo Babe (We Care) 24: Tim Cappello – I Still Believe (The Lost Boys OST) 23: Judas Priest – Rock Forever (Killing Machine) **Level 42 - Something About You Re-Edit (World Machine) 22: 45 Grave – Partytime (The Return of the Living Dead OST) 21: Tigertailz – Sick Sex (Bezerk) 20: Poison – Look What The Cat Dragged In **Roger Taylor – Nazis 1994 Makita Mix (The Lot) 19: L7 – Shitlist (Bricks Are Heavy)**Stevie Wonder - Superstition (Talking Book) 18: Metallica – Creeping Death (Ride The Lightning) 17: David Bowie – Scream Like A Baby (Scary Monsters and Super Creeps) **Ugly Kid Joe – Neighbour (America’s Least Wanted) 16: Queen – Dragon Attack (The Game) 15: Blondie – Accidents Never Happen (Eat To The Beat) **The Damned – Born To Kill (Damned Damned Damned) 14: Michael Jackson - Working Day And Night (Off The Wall) **Richard O’Brien / Patricia Quinn / Little Nell / Tim Curry – The Time Warp and Sweet Transvestite (The Rocky Horror Picture Show OST) 13: Soft Cell – Say Hello Wave Goodbye (Non-Stop Erotic Cabaret) 12: L.A. Guns – Sex Action (S/T album) 11: Queen – Liar (S/T album) **Little Angels –  Tired of Waiting For You (Jam) ------ THE TOP TEN 10: Thunder – Backstreet Symphony (Backstreet Symphony) 9: Iron Maiden – From Here To Eternity (Fear Of The Dark) 8: The Bus Boys – Cleanin’ Up The Town Extended Mix (Ghostbusters OST) 7: Extreme – Get The Funk Out (Extreme II - Pornograffitti) 6: Guns N Roses – Out Ta Get Me (Appetite For |Destruction) 5: Skid Row – Here I Am (S/T album) 4: Queen – Tie Your Mother Down (A Day At The Races) 3: Enuff Z’Nuff – Kiss The Clown (S/T album) 2: Michael Jackson – Wanna Be Startin’ Somethin’ (Thriller) 1: Queen – It’s Late (News Of The World) **John Williams and The London Symphony Orchestra – The Throne Room and End Title (Star Wars OST) ----- The Extra Bits**Yazoo vs Michael Jackson – Situation/Thriller (A Situational Thriller - Mitz Mix) **Ray Parker Jr – Ghostbusters (DJ Mitz’s Tobin’s Spirit Guide Mix) **Chic vs David Bowie – Good Times/Let’s Dance (Mitz Mix)

Week 2 of Shelter in Place! We come together via Skype to give you Episode 40 from Behind the Bunker! Every DJ has taken to LiveStreaming Sets! Bars, Clubs, closed down! This has crippled the world!

  Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at “Johnny B. Goode” by Chuck Berry, and the decline and fall of both Berry and Alan Freed. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Splish Splash” by Bobby Darin.  —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell’s research. The information on the precursors to the “Johnny B. Goode” intro comes from Before Elvis by Larry Birnbaum.  And for information about Freed, I used  Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week’s, this discusses, though not in any great detail, a few crimes of a sexual nature. If that’s likely to upset you, please either check the transcript to make sure you’ll be OK, or come back next week. Today we’re going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there’d been a message from aliens – “Send more Chuck Berry”. That’s what an important record “Johnny B. Goode” is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he’d just released “School Day”, which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry’s career didn’t go on a completely upward curve after that point. His next single, “Oh Baby Doll”, was a comparative flop — it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll’s premier mythologiser. Where in May 1956 Berry had sung about “these rhythm and blues”, this time he was going to use the music’s new name, and he was singing “just let me hear some of that rock and roll music”: [Excerpt: Chuck Berry, “Rock and Roll Music”] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do “Roll Over Beethoven” and “Brown-Eyed Handsome Man” as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn’t have time for. When he next went back into the studio, it was to cut seven songs. One of them, “Reelin’ and Rockin'”, was a slight reworking of the old Wynonie Harris song, “Round the Clock Blues”. Harris’ song, which had also been recorded by Big Joe Turner with Johnny Otis’ band, was an inspiration for “Rock Around the Clock” among other records: [Excerpt: Wynonie Harris, “Round the Clock Blues”] Berry’s version got rid of some of the more sexual lyrical content — though that would later come back in live performances of the song — and played up the song’s similarity to “Rock Around the Clock”, but it’s still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry’s name — for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry’s songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] You might notice that the piano style on that track is very different from some of Berry’s earlier recordings. Now, there are two possible explanations for this, because I’ve seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I’m going with the other sources, which credit Johnnie Johnson, Berry’s regular player, as playing on the session. If it is, though, he’s playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry’s last session. Lewis used to use a simple technique called “ripping” when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis’ records were so successful, so he insisted on Johnnie Johnson doing that on Berry’s new records. Johnson didn’t like the sound, which he considered “all flash and no technique”, but Chess insisted — to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he “’bout tore my thumbnail off” getting it done. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] He later acknowledged that Chess had a point, though — simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session — this time about the kids themselves: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] “Sweet Little Sixteen” was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course — things like “Drugstore Rock & Roll” or “Rip it Up” — but this was about fandom, and about the experience of following musicians. It’s not completely about that, sadly — it’s the teen girl fan filtered through the male gaze, and so it’s also about how “everybody wants to dance with” this sixteen-year-old girl, and about her “tight dresses and lipstick” — but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it’s one of the best evocations of the experience of fandom as a hobby — not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about “Sweet Little Sixteen” is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they’ll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to “on Bandstand” and “in Philadelphia PA”, which is where American Bandstand was broadcast from. It’s a sign that Dick Clark was becoming more important than Berry’s mentor, Alan Freed. A week after the session for “Reelin’ and Rockin'” and “Sweet Little Sixteen”, came another session for what would become Berry’s most well-known song, and one that remains in the repertoire of almost every bar band in the world. It’s instantly recognisable right from the start. The introduction to “Johnny B. Goode” is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, “Johnny B. Goode”] But that guitar part has a long history — it’s original to Chuck Berry, but at the same time it’s based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan’s guitarist, who played this as the intro to Jordan’s “Ain’t That Just Like a Woman”: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman’s Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song “Bluin’ the Blues”, you hear this: [Excerpt: Wilbur Sweatman’s Jazz Orchestra, “Bluin’ the Blues”] We hear it in Blind Lemon Jefferson’s “Got the Blues”, in 1926: [Excerpt: Blind Lemon Jefferson, “Got the Blues”] In Blind Blake’s “Too Tight”, also from 1926: [Excerpt: Blind Blake, “Too Tight”] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan’s playing: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] and now to Berry: [Excerpt: Chuck Berry, “Johnny B. Goode”] The crucial change Berry makes there is that most of the time he’s playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, “Shufflin’ the Blues”] Berry took Walker’s playing style, and combined it with Hogan’s note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician’s toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to “Fun, Fun, Fun”: [Excerpt: The Beach Boys, “Fun Fun Fun”] Absolutely no-one listening thought “Oh, he’s riffing off ‘Texas Shout’ by Cow Cow Davenport” — everyone instantly thought “Oh, that’s the intro to ‘Johnny B. Goode'”. Berry had taken a standard piece of every musician’s toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying “Johnnie, be good”, stop drinking so much — a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him — something that was even more explicit in the original version of the lyric, where rather than sing “a country boy”, he sang “a coloured boy”. But there’s another sign that Berry was talking about himself, and that’s in the very title itself. Goode is spelled “G-o-o-d-e”, with an “e” on the end — and Berry’s childhood home was at 2520 Goode avenue, with an E. There’s another possible origin as well — the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called “Berry”, about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in “Berry” rather than with his own name.) You can point to every element of “Johnny B. Goode” and say “well, this came from there, and this came from there”, but still you’re no closer to identifying why Johnny B. Goode works as well as it does. it’s the combination of all these elements in a way that they’d never been put together before that is Berry’s genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. “Johnny B. Goode” was also the title song for what turned out to be Alan Freed’s final film — a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed’s co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I’ve mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn’t mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed’s career. Freed was already on the downturn in his career — rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn’t have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed’s downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They’d forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen — the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said “It looks like the Boston police don’t want you to have a good time.” The show continued with the lights on, but the audience got annoyed — so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they’d been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn’t end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he’d been hired, the station was losing money, and he’d been a gamble. Now, they were in profit, and they didn’t need to take risks, and they’d been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed’s contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we’ve talked about before — record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like “Maybellene” and “Sincerely” – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much — Dick Clark certainly did — and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what — this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn’t like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it’s just goodnight”] And here we get to the downfall of Chuck Berry himself. It’s an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis’ own underage sex scandal — well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He’d promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry’s case than in Lewis’, because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men — indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it’s not like this was an isolated incident — he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race — and his prison sentence was reduced in large part because the judge made some extremely racist remarks — it’s still a fact that what he did was wrong. Now, I’m not going to spend much more time on this with Berry — not as much as I did with Jerry Lee Lewis last week — and that’s because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there’s a myth that Berry’s career was completely wrecked by his arrest. This simply isn’t true. It’s true that “Johnny B. Goode” was Berry’s last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He’d released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like “Thirty Days”, “Too Much Monkey Business”, “Brown-Eyed Handsome Man” and “You Can’t Catch Me” had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn’t end up going to jail until 1961. “Johnny B. Goode” came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there’s a simple reason why Berry didn’t chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists — and all artists in the fifties were singles artists — who can survive a major change in the public’s taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after “Johnny B. Goode” wasn’t his best. There were some good songs — things like “Carol”, “Little Queenie”, and “I’ve Got to Find My Baby” — but even those weren’t Berry at his absolute peak. And the majority of the material he put out during that time was stuff like “Anthony Boy” and “Too Pooped to Pop”, which very few of even Berry’s most ardent fans will tell you are worth listening to. There was one exception — during that time, he put out what may be the best song he ever wrote, “Memphis, Tennessee”: [Excerpt: Chuck Berry, “Memphis, Tennessee”] While it’s a travesty that that record didn’t chart, in retrospect it’s easy to see why it didn’t. Berry’s audience were, for the most part, teenagers. No matter how good a song it was, “Memphis Tennessee” was about a man wanting to regain contact with his six-year-old daughter after he’s split up with her mother. That’s something that would have far more relevance to people of Berry’s own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry’s eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he’d had since summer 1958 — “Nadine” made number 23, “You Never Can Tell” made number fourteen, and “No Particular Place to Go”, a rewrite of “School Day”, with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, “No Particular Place to Go”] Those songs were better than anything he’d released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry’s studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, “My Ding-a-Ling”, which if you’ve not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be — he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called “Chuck”, which was announced as part of the celebrations for his ninetieth birthday, but wasn’t released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said “if you tried to give rock and roll another name, it would be Chuck Berry”, and for both better and worse, that’s probably true.

  Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at “Johnny B. Goode” by Chuck Berry, and the decline and fall of both Berry and Alan Freed. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Splish Splash” by Bobby Darin.  —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell’s research. The information on the precursors to the “Johnny B. Goode” intro comes from Before Elvis by Larry Birnbaum.  And for information about Freed, I used  Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week’s, this discusses, though not in any great detail, a few crimes of a sexual nature. If that’s likely to upset you, please either check the transcript to make sure you’ll be OK, or come back next week. Today we’re going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there’d been a message from aliens – “Send more Chuck Berry”. That’s what an important record “Johnny B. Goode” is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he’d just released “School Day”, which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry’s career didn’t go on a completely upward curve after that point. His next single, “Oh Baby Doll”, was a comparative flop — it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll’s premier mythologiser. Where in May 1956 Berry had sung about “these rhythm and blues”, this time he was going to use the music’s new name, and he was singing “just let me hear some of that rock and roll music”: [Excerpt: Chuck Berry, “Rock and Roll Music”] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do “Roll Over Beethoven” and “Brown-Eyed Handsome Man” as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn’t have time for. When he next went back into the studio, it was to cut seven songs. One of them, “Reelin’ and Rockin'”, was a slight reworking of the old Wynonie Harris song, “Round the Clock Blues”. Harris’ song, which had also been recorded by Big Joe Turner with Johnny Otis’ band, was an inspiration for “Rock Around the Clock” among other records: [Excerpt: Wynonie Harris, “Round the Clock Blues”] Berry’s version got rid of some of the more sexual lyrical content — though that would later come back in live performances of the song — and played up the song’s similarity to “Rock Around the Clock”, but it’s still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry’s name — for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry’s songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] You might notice that the piano style on that track is very different from some of Berry’s earlier recordings. Now, there are two possible explanations for this, because I’ve seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I’m going with the other sources, which credit Johnnie Johnson, Berry’s regular player, as playing on the session. If it is, though, he’s playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry’s last session. Lewis used to use a simple technique called “ripping” when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis’ records were so successful, so he insisted on Johnnie Johnson doing that on Berry’s new records. Johnson didn’t like the sound, which he considered “all flash and no technique”, but Chess insisted — to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he “’bout tore my thumbnail off” getting it done. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] He later acknowledged that Chess had a point, though — simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session — this time about the kids themselves: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] “Sweet Little Sixteen” was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course — things like “Drugstore Rock & Roll” or “Rip it Up” — but this was about fandom, and about the experience of following musicians. It’s not completely about that, sadly — it’s the teen girl fan filtered through the male gaze, and so it’s also about how “everybody wants to dance with” this sixteen-year-old girl, and about her “tight dresses and lipstick” — but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it’s one of the best evocations of the experience of fandom as a hobby — not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about “Sweet Little Sixteen” is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they’ll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to “on Bandstand” and “in Philadelphia PA”, which is where American Bandstand was broadcast from. It’s a sign that Dick Clark was becoming more important than Berry’s mentor, Alan Freed. A week after the session for “Reelin’ and Rockin'” and “Sweet Little Sixteen”, came another session for what would become Berry’s most well-known song, and one that remains in the repertoire of almost every bar band in the world. It’s instantly recognisable right from the start. The introduction to “Johnny B. Goode” is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, “Johnny B. Goode”] But that guitar part has a long history — it’s original to Chuck Berry, but at the same time it’s based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan’s guitarist, who played this as the intro to Jordan’s “Ain’t That Just Like a Woman”: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman’s Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song “Bluin’ the Blues”, you hear this: [Excerpt: Wilbur Sweatman’s Jazz Orchestra, “Bluin’ the Blues”] We hear it in Blind Lemon Jefferson’s “Got the Blues”, in 1926: [Excerpt: Blind Lemon Jefferson, “Got the Blues”] In Blind Blake’s “Too Tight”, also from 1926: [Excerpt: Blind Blake, “Too Tight”] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan’s playing: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] and now to Berry: [Excerpt: Chuck Berry, “Johnny B. Goode”] The crucial change Berry makes there is that most of the time he’s playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, “Shufflin’ the Blues”] Berry took Walker’s playing style, and combined it with Hogan’s note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician’s toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to “Fun, Fun, Fun”: [Excerpt: The Beach Boys, “Fun Fun Fun”] Absolutely no-one listening thought “Oh, he’s riffing off ‘Texas Shout’ by Cow Cow Davenport” — everyone instantly thought “Oh, that’s the intro to ‘Johnny B. Goode'”. Berry had taken a standard piece of every musician’s toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying “Johnnie, be good”, stop drinking so much — a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him — something that was even more explicit in the original version of the lyric, where rather than sing “a country boy”, he sang “a coloured boy”. But there’s another sign that Berry was talking about himself, and that’s in the very title itself. Goode is spelled “G-o-o-d-e”, with an “e” on the end — and Berry’s childhood home was at 2520 Goode avenue, with an E. There’s another possible origin as well — the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called “Berry”, about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in “Berry” rather than with his own name.) You can point to every element of “Johnny B. Goode” and say “well, this came from there, and this came from there”, but still you’re no closer to identifying why Johnny B. Goode works as well as it does. it’s the combination of all these elements in a way that they’d never been put together before that is Berry’s genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. “Johnny B. Goode” was also the title song for what turned out to be Alan Freed’s final film — a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed’s co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I’ve mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn’t mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed’s career. Freed was already on the downturn in his career — rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn’t have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed’s downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They’d forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen — the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said “It looks like the Boston police don’t want you to have a good time.” The show continued with the lights on, but the audience got annoyed — so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they’d been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn’t end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he’d been hired, the station was losing money, and he’d been a gamble. Now, they were in profit, and they didn’t need to take risks, and they’d been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed’s contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we’ve talked about before — record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like “Maybellene” and “Sincerely” – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much — Dick Clark certainly did — and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what — this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn’t like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it’s just goodnight”] And here we get to the downfall of Chuck Berry himself. It’s an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis’ own underage sex scandal — well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He’d promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry’s case than in Lewis’, because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men — indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it’s not like this was an isolated incident — he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race — and his prison sentence was reduced in large part because the judge made some extremely racist remarks — it’s still a fact that what he did was wrong. Now, I’m not going to spend much more time on this with Berry — not as much as I did with Jerry Lee Lewis last week — and that’s because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there’s a myth that Berry’s career was completely wrecked by his arrest. This simply isn’t true. It’s true that “Johnny B. Goode” was Berry’s last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He’d released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like “Thirty Days”, “Too Much Monkey Business”, “Brown-Eyed Handsome Man” and “You Can’t Catch Me” had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn’t end up going to jail until 1961. “Johnny B. Goode” came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there’s a simple reason why Berry didn’t chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists — and all artists in the fifties were singles artists — who can survive a major change in the public’s taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after “Johnny B. Goode” wasn’t his best. There were some good songs — things like “Carol”, “Little Queenie”, and “I’ve Got to Find My Baby” — but even those weren’t Berry at his absolute peak. And the majority of the material he put out during that time was stuff like “Anthony Boy” and “Too Pooped to Pop”, which very few of even Berry’s most ardent fans will tell you are worth listening to. There was one exception — during that time, he put out what may be the best song he ever wrote, “Memphis, Tennessee”: [Excerpt: Chuck Berry, “Memphis, Tennessee”] While it’s a travesty that that record didn’t chart, in retrospect it’s easy to see why it didn’t. Berry’s audience were, for the most part, teenagers. No matter how good a song it was, “Memphis Tennessee” was about a man wanting to regain contact with his six-year-old daughter after he’s split up with her mother. That’s something that would have far more relevance to people of Berry’s own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry’s eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he’d had since summer 1958 — “Nadine” made number 23, “You Never Can Tell” made number fourteen, and “No Particular Place to Go”, a rewrite of “School Day”, with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, “No Particular Place to Go”] Those songs were better than anything he’d released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry’s studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, “My Ding-a-Ling”, which if you’ve not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be — he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called “Chuck”, which was announced as part of the celebrations for his ninetieth birthday, but wasn’t released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said “if you tried to give rock and roll another name, it would be Chuck Berry”, and for both better and worse, that’s probably true.

  Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at "Johnny B. Goode" by Chuck Berry, and the decline and fall of both Berry and Alan Freed. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Splish Splash" by Bobby Darin.  ----more---- Resources As always, I've created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists -- part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn't shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry's Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry's career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell's research. The information on the precursors to the "Johnny B. Goode" intro comes from Before Elvis by Larry Birnbaum.  And for information about Freed, I used  Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I'd recommend if you don't have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week's, this discusses, though not in any great detail, a few crimes of a sexual nature. If that's likely to upset you, please either check the transcript to make sure you'll be OK, or come back next week. Today we're going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there'd been a message from aliens – “Send more Chuck Berry”. That's what an important record "Johnny B. Goode" is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he'd just released "School Day", which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry's career didn't go on a completely upward curve after that point. His next single, "Oh Baby Doll", was a comparative flop -- it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll's premier mythologiser. Where in May 1956 Berry had sung about "these rhythm and blues", this time he was going to use the music's new name, and he was singing "just let me hear some of that rock and roll music": [Excerpt: Chuck Berry, "Rock and Roll Music"] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do "Roll Over Beethoven" and "Brown-Eyed Handsome Man" as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn't have time for. When he next went back into the studio, it was to cut seven songs. One of them, "Reelin' and Rockin'", was a slight reworking of the old Wynonie Harris song, "Round the Clock Blues". Harris' song, which had also been recorded by Big Joe Turner with Johnny Otis' band, was an inspiration for "Rock Around the Clock" among other records: [Excerpt: Wynonie Harris, "Round the Clock Blues"] Berry's version got rid of some of the more sexual lyrical content -- though that would later come back in live performances of the song -- and played up the song's similarity to "Rock Around the Clock", but it's still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry's name -- for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry's songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin' and Rockin'”] You might notice that the piano style on that track is very different from some of Berry's earlier recordings. Now, there are two possible explanations for this, because I've seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I'm going with the other sources, which credit Johnnie Johnson, Berry's regular player, as playing on the session. If it is, though, he's playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry's last session. Lewis used to use a simple technique called "ripping" when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis' records were so successful, so he insisted on Johnnie Johnson doing that on Berry's new records. Johnson didn't like the sound, which he considered "all flash and no technique", but Chess insisted -- to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he "'bout tore my thumbnail off" getting it done. [Excerpt: Chuck Berry, “Reelin' and Rockin'”] He later acknowledged that Chess had a point, though -- simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session -- this time about the kids themselves: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] "Sweet Little Sixteen" was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course -- things like "Drugstore Rock & Roll" or "Rip it Up" -- but this was about fandom, and about the experience of following musicians. It's not completely about that, sadly -- it's the teen girl fan filtered through the male gaze, and so it's also about how "everybody wants to dance with" this sixteen-year-old girl, and about her "tight dresses and lipstick" -- but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it's one of the best evocations of the experience of fandom as a hobby -- not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about "Sweet Little Sixteen" is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they'll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to "on Bandstand" and "in Philadelphia PA", which is where American Bandstand was broadcast from. It's a sign that Dick Clark was becoming more important than Berry's mentor, Alan Freed. A week after the session for "Reelin' and Rockin'" and "Sweet Little Sixteen", came another session for what would become Berry's most well-known song, and one that remains in the repertoire of almost every bar band in the world. It's instantly recognisable right from the start. The introduction to "Johnny B. Goode" is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, "Johnny B. Goode"] But that guitar part has a long history -- it's original to Chuck Berry, but at the same time it's based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan's guitarist, who played this as the intro to Jordan's "Ain't That Just Like a Woman": [Excerpt: Louis Jordan, "Ain't That Just Like a Woman"] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman's Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song "Bluin' the Blues", you hear this: [Excerpt: Wilbur Sweatman's Jazz Orchestra, "Bluin' the Blues"] We hear it in Blind Lemon Jefferson's "Got the Blues", in 1926: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] In Blind Blake's "Too Tight", also from 1926: [Excerpt: Blind Blake, "Too Tight"] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan's playing: [Excerpt: Louis Jordan, "Ain't That Just Like a Woman"] and now to Berry: [Excerpt: Chuck Berry, "Johnny B. Goode"] The crucial change Berry makes there is that most of the time he's playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, "Shufflin' the Blues"] Berry took Walker's playing style, and combined it with Hogan's note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician's toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to "Fun, Fun, Fun": [Excerpt: The Beach Boys, "Fun Fun Fun"] Absolutely no-one listening thought "Oh, he's riffing off 'Texas Shout' by Cow Cow Davenport" -- everyone instantly thought "Oh, that's the intro to 'Johnny B. Goode'". Berry had taken a standard piece of every musician's toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying "Johnnie, be good", stop drinking so much -- a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him -- something that was even more explicit in the original version of the lyric, where rather than sing "a country boy", he sang "a coloured boy". But there's another sign that Berry was talking about himself, and that's in the very title itself. Goode is spelled "G-o-o-d-e", with an "e" on the end -- and Berry's childhood home was at 2520 Goode avenue, with an E. There's another possible origin as well -- the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called "Berry", about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in "Berry" rather than with his own name.) You can point to every element of "Johnny B. Goode" and say "well, this came from there, and this came from there", but still you're no closer to identifying why Johnny B. Goode works as well as it does. it's the combination of all these elements in a way that they'd never been put together before that is Berry's genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. "Johnny B. Goode" was also the title song for what turned out to be Alan Freed's final film -- a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed's co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I've mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn't mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed's career. Freed was already on the downturn in his career -- rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn't have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed's downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They'd forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen -- the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said "It looks like the Boston police don't want you to have a good time." The show continued with the lights on, but the audience got annoyed -- so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they'd been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn't end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he'd been hired, the station was losing money, and he'd been a gamble. Now, they were in profit, and they didn't need to take risks, and they'd been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed's contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we've talked about before -- record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like "Maybellene" and "Sincerely" – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much -- Dick Clark certainly did -- and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what -- this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn't like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it's just goodnight”] And here we get to the downfall of Chuck Berry himself. It's an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis' own underage sex scandal -- well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He'd promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry's case than in Lewis', because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men -- indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it's not like this was an isolated incident -- he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race -- and his prison sentence was reduced in large part because the judge made some extremely racist remarks -- it's still a fact that what he did was wrong. Now, I'm not going to spend much more time on this with Berry -- not as much as I did with Jerry Lee Lewis last week -- and that's because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there's a myth that Berry's career was completely wrecked by his arrest. This simply isn't true. It's true that "Johnny B. Goode" was Berry's last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He'd released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like "Thirty Days", "Too Much Monkey Business", "Brown-Eyed Handsome Man" and "You Can't Catch Me" had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn't end up going to jail until 1961. "Johnny B. Goode" came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there's a simple reason why Berry didn't chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists -- and all artists in the fifties were singles artists -- who can survive a major change in the public's taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after "Johnny B. Goode" wasn't his best. There were some good songs -- things like "Carol", "Little Queenie", and "I've Got to Find My Baby" -- but even those weren't Berry at his absolute peak. And the majority of the material he put out during that time was stuff like "Anthony Boy" and "Too Pooped to Pop", which very few of even Berry's most ardent fans will tell you are worth listening to. There was one exception -- during that time, he put out what may be the best song he ever wrote, "Memphis, Tennessee": [Excerpt: Chuck Berry, "Memphis, Tennessee"] While it's a travesty that that record didn't chart, in retrospect it's easy to see why it didn't. Berry's audience were, for the most part, teenagers. No matter how good a song it was, "Memphis Tennessee" was about a man wanting to regain contact with his six-year-old daughter after he's split up with her mother. That's something that would have far more relevance to people of Berry's own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry's eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he'd had since summer 1958 -- "Nadine" made number 23, "You Never Can Tell" made number fourteen, and "No Particular Place to Go", a rewrite of "School Day", with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, "No Particular Place to Go"] Those songs were better than anything he'd released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry's studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, "My Ding-a-Ling", which if you've not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be -- he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called "Chuck", which was announced as part of the celebrations for his ninetieth birthday, but wasn't released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said "if you tried to give rock and roll another name, it would be Chuck Berry", and for both better and worse, that's probably true.

Viceroy is an electronic DJ, producer, and artist manager based in Los Angeles. He rose to prominence with his "Jet Life" series, which featured upbeat remixes of R&B classics like Ginuwine's "Pony" and Nelly's "Ride Wit Me." Inspired to help his fellow artists, Viceroy also has his own management company (Kinfolk). See acast.com/privacy for privacy and opt-out information.

Professional DJs djetworldwide, DJ RayLove, DJ VStylez & DJ AStylez discuss what it's like to live and breathe the music industry. Taking you on a journey through our craziest DJ experiences, how our DJing path has changed over the years, why some DJs refuse to take song requests, Tips on how to become a fun time DJ, the DJs that inspired us, what it's like to date a DJ and the difference between a club DJ & Wedding DJ. Every DJ and music enthusiast can relate to these topics but it is intended for all to enjoy. --- Support this podcast: https://anchor.fm/DJET/support

DJ Detroit shared with Sean Garvey the Top 3 things that every DJ must do to be great. He also explained how someone can join the Core DJs. For more information about DJ Detroit: https://www.blackvibes.com/djdetroit Follow Sean Garvey on IG: https://www.instagram.com/seangarveyatl To create your own app: https://www.bvmobileapps.com

Welcome back to Decomposed Radio. Here in Sheffield we're still reeling and recovering from the outrageous "Works Party" last weekend. The main event at one of Sheffield's best venues "Plug" nightclub, aswell as the afterparty at a secret Sheffield location were both absolutely incredible and the weekend was well and truly full to bursting with awesome music, fun and mischief! Every DJ on the lineup really stepped up to the mark and played outstanding sets, and I'm very very happy to say that we managed to record all the muisc in the main room, so expect to hear those mixes on Decomposed Radio over the next few weeks! First up from this selection is our special guest for the night, Kelvin Briscall, who's a really accomplished DJ and producer, having made appearances behind the decks at all of London's landmark clubs, aswell as holding down residencies in Ibiza, and playig legendary gigs alongside Groove Armada on Bondi Beach! After years of playing vinyl, he was one of the earliest adopters of  digital DJing, and these days he uses a blend of production and DJ setups, controlled with a unique concoction of self built hardware meaning he has loops, effects, multiple decks and drum machines at his fingertips. In addition to all this, and especially for this mix, he's managed to mix the audio from his set with the live sound of the crowd at Plug last Friday night, so if you missed out you can feel like you were really there, or maybe re-live some memories if you were on the dancefloor in the main room! So turn it up, and get lost in this multi-genre mix from Kelvin Briscall, for Decomposed Radio 058.........

In this episode, I talked about all of the features that I would like to see become a standard when it comes to DJ mixers! There are some key features out there that are becoming more and more popular.

Every DJ has an individual vision of the sound they want to pursue, and Adrian Tescan aka Highroller has dedicated himself to the "deep, hypnotic groove that has you nodding your head without you realising it". The London based Romanian DJ has been in the business for nearly 5 years and has since shared decks with the likes of Mark Farina and Acid Pauli. His mix for our Luvcast series is very much in the vein of the deep groove he's been pursuing, and it's certainly a head nodding affair too! www.soundcloud.com/higholler1 www.residentadvisor.net/dj/highr0ller www.facebook.com/highrollerdj

Hello again to all the music lovers and disco fans, I can’t tell you how much fun I’ve had working on this Disco Superset Trilogy. Here we are at Vol 2…..Whoah!!!! With the support and encouragement of the premiere and legendary DJ, Robbie Leslie , I am serving you all up a platter of timeless classics. Every DJ has their own style and no DJ is better than the other if you are passionate and dedicated to how the music is interpreted from your heart. On this last set, Debby Holiday came into my studio here in LA and made me jump even higher adding all sorts of textures that only she can do. How lucky can a person be to have produced and be in the same room with some of the most amazing DIVAS of my lifetime. Cher, Gloria Estefan, Martha Wash, Deborah Cox, Donna Summer, Debby Holiday and as far as legends go….Barry Manilow and Luther Vandross. When I had a hard time trying to choose the final songs and discuss it with a master of the mix, I asked my longtime friend and LATIN RASCAL pioneering partner, Albert Cabrera to help me through it…OLD SCHOOL STYLE. It was a seamless experience to have your back. You’ll be able to hear how the Latin Rascal magical mixing is in Vol 3 Superset. All props to you ALBERT! Enjoy everyone and special thanks to Phil McKenna for giving this series the visuals that goes beyond my imagination. There is nothing better than having a cover to remind you of what you’ve heard and enjoyed. With this amazing group of collaborators that I have mentioned, I am never lost. Not regarding music or the people that love it. I’ll list the playlist once it’s first aired. Enjoy everyone and I wish you a fun ride. Love, DJ Tony Moran Track Listing.......... 1-Doctor Love- First Choice 2-Love Insurance-Front Page feat. Sharon Redd 3-Don’t Let Me Be Misunderstood- Santa Esmeralda 4-You're The First,The Last, My Everything- Barry White  (Tony Moran Remix) 5-Victim- Candi Staton 6-In The Name Of Love- Sharon Redd 7-Love And Desire- Arpeggio 8-Ain’t No Mountain High Enough- Jocelyn Brown 9-Push In The Bush- Musique 10-Souvenirs- Voyage 11-I Feel Love- Donna Summer 12-Do Wanna Funk With Me- Sylvester 13-Your Love- Lime 14-Keep On Dancing - Bee Gees- Tony Moran’s Private Mix 15-Stomp- Brothers Johnson 16-Got To Have Loving- Don Ray 17-Ai No Corrida- Quincy Jones 18-The Love I a Lost- Harold Melvin and The Blue Notes 19-Sunset People- Donna Summer- Tony Moran- Rework

This week we talked to DJ Josh Torres. Josh came from Costa Rica in 1993 and with him he brought two things - his bags and his love for music. With his passion he has built an incredible DJ brand playing all over the East Coast (from Florida to New York). In this episode he shares his knowledge of growing a brand and his expertise in Latin American Music. Every DJ can learn and expand their collection. This week we highlight Latino Music.

TUH-NIGHT! On "TheMusicBox" w/ National Recording Artist Tanya Dallas-Lewis! It's DJ Jesus Beats! Tune in to this **RE-BROADCAST** and find out what EVERY DJ WISHED INDIE ARTIST'S KNEW! And of course--the best in gospel music--from indie artists that you actually know--news, updates, how-to's and so much more! All--w/ ya' girl, TDL! always, Stellar/Dove Noninated Recording Artist, Tanya

This Week on "TheMusicBox" with National Recording Artist Tanya Dallas-Lewis!  Meet DJ and Program Director of HOT 3:16 Radio, DJ JesusBeats! Fellow Recording Artists!!!  Join us THIS THURSDAY and find out WHAT EVERY DJ WISH YOU KNEW! Meet my special guest, Christian DJ, DJ Jesus Beats!! Plus, the BEST in gospel music, news, interviews, updates, how-to's and so much more! Grab your favorite flavored tea bag, hot water, lemon and some honey, and I'll bring the bag of caramel and cheese popcorn! Meet me at 8pm EST *THIS THURSDAY!* Be there, ......or I will FIND YOU and beat you down! [so loving, aren't I?] :0) -Tanya, Stellar/Dove Nominated Recording Artist EPISODE SPONSORS: BAPMINISTRIESRADIO.COM, HEY PAPI PROMOTIONS, JUSTVIBIN4U.COM and AGAPE MULTIMEDIA PRODUCTIONS

Every DJ or artist has an event or defining moment that in their mind is the pinnacle of their craft. It's the reason they do and create the things that they do. There can be many reasons and many factors, but in the end, these are the times they relish and look forward to for months. For me, the reason I still dj is the peak time at Burning Man and in particular The Deep End which later of course became the party at Distrikt. I always loved the day party, and this massive day party is what I look forward to and think about all year when I'm searching for music. Last year in 2011 at Distrikt I took a risk. I heard a violinist play at a music festival in northern California with a DJ and it rocked my world. I knew at that moment I wanted to combine a live music element with my DJing, but I wasn't sure how to do it. Luckily I happened to hook up with two very talented musicians, and since last year, we have been producing programs under the name Clarkie ft. Joel & Homer Live. We wanted to create something different but special this year to show our progression as artists. I’m psyched with how our set came out and they both rocked it. It has been a kick and an artistic joy to work with Joel Kellogg on Bass and Homer Hsu on violin, and I hope you enjoy the set for years to come. Please listen to what these guys add to the music….and enjoy. Thanks Distrikt for continuing to give us this grand stage to share our music and passion. Track List: Thunder Knas - Miami Mashups Patanegra - The Cube Guys Alright - Federico Scavo I Do - Mark Knight Freedom - Ramon Tapia, Riva Star Stay The Night - Deekline, Ed Solo Too Close (Breaks Mix) - Defkline, Red Polo Piano Man (Uto Karem Remix) - Format:B Another Star (Yves Murasca Tribal) - Gianni Coletti, Keejay Freak Funky Vodka (Original Mix) - TJR Nini feat. Clarisse Muvemba - Claude Monnet Remix - Sumo Night And Day - 2 Bears ft.Trim Remix I Feel Love - OG Remix Rocker (Prok & Fitch Vs My Digital Enemy) - Alter Ego You Know (Original Club Mix) - Federico Scavo Welcome to the Future (BadTango Remix) - Too Dusty Bong (Original Mix) - Denise Koyu Let The Sun Shine 2012 (Tocadisco Remix) - Milk & Sugar Artists: DJ Clarkie Joel Kellogg - Electric Bass Homer Hsu - Electric Violin All music from Joel and Homer originally produced live at Distrikt

This week the Space Cowboys are pleased to welcome our good pal, Ethan Miller, to the program. For this, his RIPEcast debut, Ethan treats us to a live recording of his set from the Friends and Family Camp Out this summer. Press play. Enjoy! "Every DJ has their signature event - BOC, the Halloween Renegade, Sanctuary, etc.  - the one event they look forward to all year, plan for, practice for and get up for, no matter what. That event for me is the Friends and Family Summer Campout, an event I've been helping produce for over 16 years now. While every year has its surprises, breaking my ankle mud wrestling just hours before my set was at the extreme edge of that category. But, like the postman, neither rain, snow, sleet, hail, irate husbands or brutal dogs was going to come between me and the dirty pounding I had in mind for FnF's dancefloor that night. It's light on finesse and heavy on vicodin but this set Blew Shit Up and if it doesn't make you dance, you can have your money back.  Enjoy!" - EM A little more background on this week's spacial guest.... Colorful founder of the much-loved Bay Area dance collective, Friends and Family, Ethan has been making dance floors sweat since 1993. Known early in his career for hard Acid and Techno sets, the years since have revealed a taste for Breaks, House, Tech House, Deep House, and of course Techno of all flavors. While currently turning up at DISTRIKT, BrassTax, Strategik, SWAG, MotorCityJam, Prohibition, Opel, and other Bay Area underground events, Ethan has also held residencies at MAD Mondays, RhythmMethod, Delve, and of course Friends and Family. Reaching way back you would have found him holding it down at some of SF's now legendary raves including The Gathering, Vision, Basics and more. For the complete musical trip through Ethan's DJ travels, visit his web site at http://www.djethan.com where you'll find 17 years of his favorite mixes all free for your listening pleasure. If you've got an iPhone, point it at: http://m.djethan.com for an enhanced version of the same collection. Ethan is available for gigs near and far! You can reach him at ethan@djethan.com. URLs: SoundCloud Page:  http://www.soundcloud.com/djethan Beatport Page: http://dj.beatport.com/djethan Facebook:  http://facebook.com/djethan