Why do white DJs make all the money?

book-your-favourite-djs-1-01I occasionally get to see what search terms lead people to Not Your Jukebox. A couple of weeks ago, the question of “why do white DJs make all the money” led some curious soul to this site. After an initial chuckle, I realized that this is actually a damn good question. When you look at the top earners, per Forbes magazine, 15 of the top 16 are white. The one non-white is Steve Aoki, and well… close enough.

So why is there so little diversity when it comes to the top earners? Why didn’t techno legend Carl Cox even make the list? Especially considering he is frequently booked solid a year in advance. Even house legend Derrick Carter quipped, “Shoot, If I had the answer, I’d be making all the money, too. It would be ‘Why do white DJs and Derrick Carter make all the money?'”

Digging a little further and looking at the DJ Mag top 100 (yes I know, I puked in my mouth a little too), it was not surprising that their list was looking a bit like Abercrombie & Fitch propaganda (albeit not nearly as in shape and much hairier). After some time searching through various lists, the trend was pretty clear: ethic diversity and women (especially those that weren’t dressed like they were about to dance around a pole) were generally scarce among top ten lists.

Black pioneers founded DJing and house/techno music, so why has it become so predominantly white? Sinbad called attention to this very issue during a radio interview earlier this year (fast forward to 17:40).

So what happened? Is it just a standard case of white male dominance and cultural appropriation? I reached out to some of my black DJ and producer friends to see what their views on the matter were. Some didn’t even want to broach the subject, feeling it was not the right time to discuss the topic given much of the issues going on nationally (like in Ferguson) and didn’t want to rock the boat or risk alienating themselves from the promoters they were currently working with. The fact that there was this kind of trepidation made me want to bring this issue to light that much more, why should there be hesitance when it comes to pointing out inequality?

My first call was to Detroit to get insight from friend and manager Cornelius Harris, head of AlterEgo Management and member of the techno collective Underground Resistance. “My general understanding is that on average,” he explained, “black men make about 75% of what white men make. In terms of electronic music, I can say that when you’re talking about ‘names’ the gap is bigger. But that may be because the fees are insane to begin with. Some of these guys are making $40,000 on a so-so show. So yes, that’s a huge jump from what the original guys who invented techno make.”

Devlin Jenkins (aka Vagabond Superstar), a house DJ staple of the Pacific Northwest, confirmed another important point, “It’s about marketability. It’s easier to market a white DJ than it is a black one. It always has been. White men have always been more visually flexible and can fit into more molds and cookie cutters than can minorities. You can be punk, metro, gay, flashy, posh, etc. as a white man and it seems ‘natural’ to the masses, more so than for a minority.” He continued, “Being white is more pliable and versatile than any other race because it’s been burned into our minds, not only in the US, but globally. White DJs are more willing to be gimmicky and trite for money, whereas minority DJs aren’t. Try to imagine DJ Sneak doing what Paulie D does, or DJ Heather doing what Paris Hilton does or any minority doing what Deadmau5 or Skrillex do. Visually it just wouldn’t be taken seriously and wouldn’t get one quarter of the traction. Plus as a minority, you’ll always be a minority first instead of a DJ first. These days it’s more of a surprise to see a person of color seeing the success of a Deadmau5 because no one expects a person of color to make it that far.”

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Everybody I talked to generally agreed with the assertion that the business side of the music industry being primarily white-owned comes into play as well. Success in any business relies heavily on who you have access too. White artists generally have more access to the white connections that have access to the white-owned labels and white-run events. When looking at EDM, which is where the high dollars are currently at, the trend further crystalizes. The crowds that attend EDM shit shows festivals are primarily white, so it is no wonder that the powers that be would want to reflect that on their stage. The real question is what came first, the white crowds or the white DJs?

Even the underground sees its share of imbalance. A longtime mainstay DJ of the Southern California scene (who because of the sensitive nature and local politics of the topic wanted to remain anonymous) points out, “I’ve been dealing with this kind of thing for 20 years,” he says, “When it comes to local talent, promoters book their friends at a higher wage. There isn’t a lot of black rave promoters in the area so unless you’re the exception and extremely close with all the white and Hispanic promoters, you are getting paid less, if at all.”

Clearly there is a problem here, one I find especially out of place for a scene that is supposed to be all about love, peace, unity, respect, and equality. At one point I even joked that the problem is that the moneymaking genre is EDM and there just isn’t enough soul for black DJs. But as Cornelius quickly pointed out, “There are plenty of cheesy black guys looking to make a buck. I guess that’s why there’s Seth Troxler.”

Despite all the possible reasons of why this inequality exists, the question remains: how do we fix it?

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Why I’m (mostly) done complaining about celebrity DJs

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When it was recently announced that Jon Gosselin (former reality TV star personality and Ed Hardy poster boy) had attached the title of DJ to his name, I felt the eye-twitching, mouth-frothing, fist-shaking signs of one doozy of a rant brewing. I was all set for one hell of a tirade. My fury was fueled by such insightful and deep wisdom like DJing “is not easy, you have to know what you’re doing, you have to keep the flow” or expressing those universal challenges like DJing weddings and the bride’s guests “start taking pictures of me and it’s not good, it’s an uncomfortable situation.”

Yes, I was getting ready to spew forth an anti-celebrity DJ rant the likes of which even DJ Sneak would tell me to lay off. As I was translating anger, frustration, and dissapointment into words, I realized a very important aspect of the whole celebrity DJ debacle that immediately calmed my rage: douche begets douche.

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Douche begets douche

In reality, the majority of people that are actual fans of celebrity DJs are either douches or just don’t know any better (or worse, both). I understand that curiosity may drive some people to personally witness one of these train wrecks of humanity from time to time, but rubbernecking aside, anyone who is a serious fan may want to earnestly examine their life goals. The sad reality is that the majority of people who continually support these fallen celebrities are really just hoping that some of the 15 minutes will rub off on them so they can get attention as well.

That being said, the celebrity DJ phenomenon has been mostly confined to its own sad, sad little world. Douche clubs book douche DJs and attract douche people. This system works to our advantage as it helps to centralize the douche community away from anywhere that matters (except for an occasional misstep in judgement, *ahem* Paris Hilton in Ibiza). At the very least, these celebrity DJ bookings let me know without hesitation which clubs and events to forever stay away from, which can be a great time and effort saver. The drawback, however, is that it can also occasionally encourage douches that wouldn’t normally take part in DJ culture to start exploring outside their own douche-majority bubble and infect a douche-minority environment. Dance music culture has enough of our own douches without adding any more.

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Ok, they aren’t all bad

Though I stand by what I’ve said in the past about how the celebrity DJ devalues and mocks our culture (and not in a fun and relevant Will Ferrell kind of way), I do acknowledge that not all celebrity DJs are bad or devalue dance music culture. People like Elijah Wood and Rony Seikaly have, so far, proven to be decent role models. I give Elijah credit for maintaining a low-key profile on the matter and actually demonstrating skill, respect, and for using vinyl instead of jumping on any sync-button-look-at-me-I’m-a-superstar-DJ-so-pay-attention-to-me bandwagon. Rony, former center for the Miami Heat, has been quoted more than once with some actual insightful comments that only come from a genuine passion for the music. One of my favorites being, “EDM isn’t house music. EDM is an offshoot of radio pop that’s done with computers. The essence of house music is organic. It’s a sexier sound. It’s not classic, it’s not noisy. It’s smooth, it’s sexy, it’s groovy. It doesn’t have fake energy like EDM.”

While I am by no means advocating the idea of celebrity DJs, as long as they help keep the douches together in their little bubbles, I don’t care much about what they do. Ultimately, celebrity DJs are like glitter and herpes (glerpes), we aren’t going to ever get rid of them so we just have to kind of ignore them when they pop up. But yes, they are just as annoying all the same.

TL;DR: Not all celebrity DJs are bad and the ones that are douches are pretty much staying in their own douche bubbles, for now. They are like glittered herpes: hungry for attention, annoying, and not going away so just ignore them.

The problem with ghostwriting dance music

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Not long ago, the interweb was abuzz with some potentially interesting discussion regarding dance music ghostwriting. Unfortunately it was short-lived and the parts of the discussion that had any real value never fully materialized. While a few articles claimed to oust some ghostwriters, they did little more than praise artists like Benny Benassi (known ghostwriter) for their hustle. Really, there should have been at least a hint of discussion about how ludicrous the whole enterprise actually is.

No harm no foul

The discussion has since been abandoned with a hastily adopted conclusion that the whole thing falls into the ‘no harm no foul’ category. Something to the effect that if the ghostwriter is ok with the terms of the contract they signed and if the person who attached their name to the work has no moral dilemma with purchasing the illusion that they possess some skill, then there is no problem. Before you subscribe to such monetarily-centric industry behaviors, let’s put a few of the important aspects of this trade into focus.

It should first be made clear that really, the ghostwriter is not to blame. It takes tremendous hustle to make ends meet in today’s economy, especially by way of the music industry. Having talent alone isn’t nearly enough to survive, even for those few of a kind that can produce more than a single potential hit. Ghostwriters alone may not have the infrastructure, contacts, or financial backings available that are needed to make music a successful hit. This is of course assuming that they even wanted to be in the limelight in the first place.

The ghostwriter is also clearly more interested in choosing money over artistic integrity by the very fact they are parting ways with their creation in order to let someone else take the credit for a few (or many) bucks. There is no mistake or confusion as to what their goals or intentions are in regards to their work. They are in it to make money, clear and simple. The person attaching their name on the bought work, however, is a liar. They are living a lie and they are selling a lie.

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The Elton John defense

People often cite artists like Elton John, Elvis, or any of the countless artists who are not only well known for not writing their own music, but also for becoming quite famous as a result of the songs that the ghostwriters provided them. There is an obvious, but unfortunately, overlooked difference in having a ghostwriter provide you with a song that you in turn PERFORM LIVE for an audience compared to a song you simply PRESS PLAY for an audience. Artists like Elton John still perform the song. They bring their own talent to the equation, a piece of themselves, as well as some actual effort to the piece.

Even when assuming the extremely unlikely scenario that a DJ/Producer who is willing to slap his name on someone else’s work in turn actually mixes it in to his own set (and yes some DJs buy premixed sets to play out for ‘live’ shows), are they really bringing any talent to the performance? Wouldn’t this then give him the right to lay claim to every song he plays in his set as his own by proxy? The short of it is that they aren’t selling a track as a result of their performance of it or really anything they are adding to it, as is the case for artists like Elton John.

For a producer to even qualify as having talent they need to actually produce, for a DJ, they need to actually mix (and mix live at that). When you buy either of these tasks and slap your name on it, it just makes you a lying fraud. These credit usurping talentless frontmen that do so are no Elton Johns, rather, they are more akin to Milli-Vanilli than anything else. If we didn’t stand for Milli-Vanilli’s pedantic synchronized dancing and lip-syncing nonsense when they were called out, why should we stand for any of these Jesus posing sky-pointing fakers?

Selling lies

At this point some people might be tempted to spout off some rhetoric nonsense like ‘if the people like the music, have a good time and are none the wiser, what difference does it make? Who gets really gets hurt?’ The industry gets hurt and the consumer pays the price, quite literally. Not only are consumers buying and perpetuating a lie, they are elevating these glorified lip-syncers to millionaire status. Consumers are unknowingly perpetuating a system where imitators keep raising their performance prices, which in turn further gouges the consumers when it comes to performance costs, all in the name of paying for the artist’s increasing cost of their lies and fame greed. Dance music has become increasingly caught in a vicious cycle of paying for lies.

As always, Not Your Jukebox seeks to remain a champion for art, truth, consumer awareness, and to encourage others to do the same. Don’t pay for lies and fame greed, demand better.

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Taking the message to the dance floor, fakers beware

Want to join the fight against the DJs and producers that fake the funk but aren’t quite sure how you can help? Now you can join the cause and spread the message just by playing a song. I know it’s a bit self-gratuitous, but fellow producer and real art enthusiast Rob Nutek and I did a song on 7Stars Music with the cause in mind. In our response to a certain “h8ers” release, we call out all fakers and give DJ Sneak a proper shout out for heading up the charge. Check it out and join the cause along with other supporters like heavy hitters Roger Sanchez and DJ Sneak. Stay tuned for an amazing remix package as well.

Get it on Beatport!

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Long time dance music veterans Rob Nutek and Sean Ray have teamed up again to give life to a dance floor monster with a message in their “FAK3RS” song on Seven Stars Music. Aside from the undeniable groove, the lyrics address some of the current rumblings in the scene involving the calling out of various artists for faking their performances.

Sean Ray who is no quiet voice on the matter, runs the very popular notyourjukebox.com, which is dedicated to keeping art as the focus of dance culture. “When Rob approached me to collaborate on this track,” explains Sean, “It was a no brainer. Of course I wanted to put a beat to a message for which I’ve been fighting for years.”

No one ever mistakes where Rob Nutek stands on the issue, as he too has been a champion of keeping things real. “DJ Sneak put a huge voice to what many of us have been saying for years. He helped people to pay attention and listen, now it’s our turn.”Rob and Sean work together to produce both a powerful track and a powerful message. Don’t them catch you faking it lest you find them on the receiving end of their cause.

The sync button strikes again

Pioneer recently announced their new CDJ-2000nexus which, not only adds a lot of new (if not gimmicky) features to its industry standard player, but also adds the ever controversial sync button. CDJs have now officially bridged the gap between traditional hardware technology and current DJ software and controller technology.

To sync or not to something something

For those of you living under a rock, one of the biggest beefs CD-jockeys have towards software/laptop-jockeys is the availability of the sync button which allows for one-click beat matching. CD-jockeys cite (often unknowingly ironically) that they are keeping it ‘real’ by not using this automation and relying on skill and art to mix tracks. Meanwhile software-jockeys claim (ignorantly so) that beat matching isn’t really a skill, that the sync button is just a tool that opens them up to be more artistic in other areas that actually matter, and that if you don’t like it don’t use it. Vinyl-jockeys just shake their heads at everyone. So who is right?

First, I think it is important to clarify the huge difference between getting two songs to be at the same tempo for a 16 count transition and riding the pitch in order to keep two or more songs sync’d up for several minutes. The latter takes a tremendous amount of skill and practice over the former. Not to mention the fact that how the artist approaches this task will give create a unique sound and style. Automating this process removes the human element and creates a more sterile feel and experience. Proponents of the sync button argue that beat matching isn’t really an art to begin with and is only a minor part of the DJ process at best, citing that selection, presentation, and other qualities are the true art form. This isn’t quite correct as they are all components of a bigger picture. You can pull out and focus on several aspects of DJing and defy that they have any artistic quality when in actuality it’s how they all fit together as a whole. It’s like saying the stroke of a paintbrush is just a quantifiable ratio of force and requires no real skill and has no real bearing on a painting. If we were to automate the brush stroke process of a painter we would reduce the artistic quality considerably, despite the fact the artist still having to know the placement and kinds of paints used.

Yes, automating the beat matching process saves time and can allow one to focus on other forms of expression, but at what cost? If someone is doing their own beat matching and are able to do these other tasks, isn’t there a higher artistic value? Does a painting with automated brush strokes have a higher or lower artistic value than a hand painted one? There is value in effort alone, the doing something in a way that is the unique result of that manual labor itself.

The “don’t like it then don’t use it” argument

“Keep up with the times, besides, if you don’t like the sync button you don’t have to use it.”  A common argument that sounds fairly straight forward, but like much else in life, there is a deeper issue.  DJing and dance culture as a whole are already saturated fields where quality is being replaced by quantity in every aspect. Making tasks easier at the expense of artistic expression and skill only makes things worse. There isn’t much quality control going on to begin with, so how many more overpriced headliners that are faking their way on stage do we have to endure? Why are we making it easier to flood our lives with the mediocre? I’ve always been a proponent of art over convenience and this is no different. Even acknowledging that a some people will use the sync button to expand other artistic areas (and I suspect people profoundly overestimate this number) the flood of people using the sync button to achieve status as bookable is just not worth it. Even those of you concerned with money over art should at the very least be concerned for this reason alone as a flooded market drives prices down.

Realistically, love it or hate it, it seems the sync button is here to stay. With any luck however, we can shame people away from using it and keep the art alive and well in what we do.

Don’t be a dance scene dick, yes this means you

While we all eagerly await DJ Sneak to point out the next batch of fakers to take cause against, I thought it would be a good time to point out some easy things everyone can avoid doing that will ultimately improve our scene.

Headlining DJs

Don’t be dicks. Yes, we know that the night is all about you, that you are being paid well, and that you think you are the rockstar. Even assuming that you are there as a result of hard work and talent and not money and circumstance, you are not a god. Every day that you are still relevant should be spent thanking one not acting like one. Keep your ego in check and remember that just because your name is at the top of the list of talent doesn’t mean manners cease to exist. Also, cool it with the crazy artist riders. You are already charging an arm and a leg, you could at least buy your own damn booze, inflatable boats, and blueberry infused water from some island of which no one has ever heard.

Opening/Supporting DJs

You are not the main event, this is not your big break, the night is not about you. Get over yourself. You may very well be a better, harder working, and more lovable DJ than the headliner, but the gig isn’t centered around you so stop with the attitude. You are in a supporting role, your job for the night is to support, so support. Don’t be a dick and play a set like you are in the headlining slot. If you don’t have music for a supporting role, or that isn’t the music you play, don’t accept the job. The headliner shouldn’t have to clean up your mess, they should be able to play what they came to play, you should lead the crowd into it. Go get headlining gigs if you think you deserve them. Until then, support.

Female DJs

You have it tough, you really do. We all know this is a male dominated scene so don’t be dicks to other female DJs by using sex to sell yourself. If you can’t get gigs because of your talent and hustle, your tits and ass shouldn’t be your back-up plan. It demeans your gender, it makes you look like a cheap slut, and it keeps people from taking female DJs seriously. Be sexy, be proud, but keep it about art and talent behind the decks. Go do an “art” film if you feel the need to exploit yourself.

Promoters

Your job is to create an experience and to get people to that experience. Do your job. Don’t be a dick and expect everyone else, i.e. the DJ, to do your job. If you are booking DJs based purely on how many people you think they will bring, and expecting “sub-promoters” to bring the bulk of the crowd, you are redundant and an unnecessary cost to the people. Know what the DJs you are booking play, what they are capable of, and then give them time slots appropriate to the overall arch of the night you’ve designed. This will highlight the headliner you are “over-paying and didn’t even draw that much of a crowd” which will make for a better night and people will feel better about how much you overcharged them.

Venue Owners/Managers

Let the people you hired do their job. If you don’t like what they are doing, then don’t hire them again. Don’t be a dick and start telling everyone how to do their job, especially if you have never done that job yourself. You just be cool, tell all the girls you own the place, and spend your profits up your nose like your master life plan dictates. If you do anything, do quality control, make sure the people you have hired are providing a good environment for the people you are overcharging for beverages.

Go-Go Dancers

Let me start off by saying, girls, I love you. I really do. You are fun, pretty, and full of great energy. But stop being dicks. You aren’t performers, quit calling yourself that. Unless you are the 3% that actually choreograph a routine or are a part of a choreographed routine you aren’t performing anything. Quit thinking people are coming specifically to see you dance (even the ones that tell you they are, are lying). If you think you are anything more than eye candy, try to be a go-go dancer at 40. Have fun, be half-naked, but leave the delusions of grandeur at home.

Attendees

There really is no scene without you, but don’t be dicks. Don’t come up to the booth to make requests, don’t waive your phone around to make requests, don’t try to use some tired old line you think you just invented to make a request. Just don’t make a request. If the DJ is the kind of DJ that takes requests, you can be sure he will let you know. If they don’t, just let them do their job. Even if they are the worst DJ you’ve ever heard they are the one working, not you. Also, yes, you will know about music they don’t, don’t be a dick and start acting all superior about how you can’t believe they have never heard of this track before and how “everyone” knows about this song, it’s not a competition, just go dance.

If you or anyone you know suffers from any of these behaviors you have my permission to take a rolled up newspaper and smack yourself or them on the nose with a firm, “NO!”

Lesson two

Fads end, talent remains.