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only 2 djs in chicago? (pg. 2)
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| James_Lauer |
| i love a good drama... this should be interesting. |
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| Max Thomson |
| ^^^ what he said |
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| Omega_Blue |
| quote: | Originally posted by jonze
I saw Rob open for Blizzard at Vision. I have no idea what that guy played but it certainly wasn't trance. |
lol @ blizzard
| quote: | Originally posted by peteone
how do you want new talent to get exposed?
by doing localized? which noone gives a about?
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localized is still a good gig though imo. some people don't even have the good fortune of playing out on those nights either. :shrugs:
in the end as it's been said over and over again, they're booking people who'll keep the establishment successful, you can't really argue about it or do anything about it, and you definitely can't fault them for trying to keep the club's best interests in mind. it's how the world works i suppose. |
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| Observator |
| If you are trully involved in the music scene - be it promoting your own nights, making music, playing on the radio etc. you will be recognized.Of course, you have to work the promoters and the clubs but a good and professional attitude along with some good dj'ing skills will get you playing. |
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| djkrisb |
hey!! no talking about localized, cause we're gonna blow the roof off that place this saturday...
on the subject of the local scene, i've found (what's worked for me personally), is to focus on DJ's and markets that share your taste in music. If your local city is into the sound you play - bonus! and if not, you still have to make and play the music that moves you, that you really believe in. It's either that, or move (or personally change the minds/opinions of all the people out there keeping the clubs alive by spending their $ there). I would love to have a huge local following (and we're working on it every day!), but either way, we have good sales on our releases, people i respect support my music, i have made myself part of the music scene i love, and it's a global scene - I'm happy to have found a place in it, and always excited to find people in the local scene that are excited about the music i love as well. |
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| trendykitty |
| quote: | Originally posted by Observator
Well, let's go way back in time then. Pure used book Chris Walsh and Chad Sommer exclusively in the late 90's and early 00's. I was pushing quality underground progressive house 6 hours a week on 92.7 & 5FM on "Clubland Underground" and then on Sonic Boom on Q101 and it was still difficult to land a gig. Albeit, they did throw me a few bones and I got to play with the big boys of the GU fame. Throw your own parties and headline your own shows. That's how I got to do it for the last 10 years here. You know that. I know, promoting sucks ;) |
I've been working in this scene for close to ten years, mainly with the music directors and promoters who book big shows - I worked with Curley and Prasad and I've worked with Milo and Dino. I think it's necessary to point out another perspective.
Pure didn't only book Chad and Charles back in the day, they also used John Curley and Charles Little quite frequently as well. While it seems like a definite case of who you know to get the gig, there's more to it. Bottom line is that dj'ing a gig is a job, like any other there are qualifications. Does the dj know how to get the word out, how many people can they bring in? Does he or she play a style that fits the format of the night? Most important, however, is whether or not they know how to open a room. There's a lot more to it than just playing a great set and making a splash with the audience. You've got to know how to start from nothing and build it to a proper point without playing too big or too hard. You're an opener. You can't upstage the headliner. It's astonishing how many dj's I've seen get a shot at opening, be offered guidance by the guys who make a living doing this (i.e. Curley, Prasad, Dino, Milo) and not listen. They play too hard too soon. They f it up. Makes the promoter and club look bad to the talent and their agent. Totally kills the trust. It's a risk the music directors cannot afford to take if they want to continue booking world class talent. |
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| Blake_Jarrell |
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| Omega_Blue |
| that's ing crazy |
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| Exact Events |
| quote: | Originally posted by trendykitty
I've been working in this scene for close to ten years, mainly with the music directors and promoters who book big shows - I worked with Curley and Prasad and I've worked with Milo and Dino. I think it's necessary to point out another perspective.
Pure didn't only book Chad and Charles back in the day, they also used John Curley and Charles Little quite frequently as well. While it seems like a definite case of who you know to get the gig, there's more to it. Bottom line is that dj'ing a gig is a job, like any other there are qualifications. Does the dj know how to get the word out, how many people can they bring in? Does he or she play a style that fits the format of the night? Most important, however, is whether or not they know how to open a room. There's a lot more to it than just playing a great set and making a splash with the audience. You've got to know how to start from nothing and build it to a proper point without playing too big or too hard. You're an opener. You can't upstage the headliner. It's astonishing how many dj's I've seen get a shot at opening, be offered guidance by the guys who make a living doing this (i.e. Curley, Prasad, Dino, Milo) and not listen. They play too hard too soon. They f it up. Makes the promoter and club look bad to the talent and their agent. Totally kills the trust. It's a risk the music directors cannot afford to take if they want to continue booking world class talent. |
totally agree. |
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| peteone |
| quote: | Originally posted by dynomite8
no reason to ever question dino on the events he plays or casts dispersions about the way he books his talent.
milo as well.
this thread is out of order. there are a million djs. anyone who wants to be noticed, the onus is on them to create a product that makes a promoter or music director notice them. no one in chicago has ever been handing out gigs. people work with people they fundamentally trust especially on prestige bookings/less financially viable nights.
if anything i think dino doesn't play enough considering it's his club, and the amount of time and energy he puts into the place and that it's his $ on the line. |
yeah of course you think that way, you're trading gigs with both of them in LA
ohh wait whos on the lineup next week?
btw im back to shake some things up again.. |
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| peteone |
| quote: | Originally posted by djkrisb
hey!! no talking about localized, cause we're gonna blow the roof off that place this saturday...
on the subject of the local scene, i've found (what's worked for me personally), is to focus on DJ's and markets that share your taste in music. If your local city is into the sound you play - bonus! and if not, you still have to make and play the music that moves you, that you really believe in. It's either that, or move (or personally change the minds/opinions of all the people out there keeping the clubs alive by spending their $ there). I would love to have a huge local following (and we're working on it every day!), but either way, we have good sales on our releases, people i respect support my music, i have made myself part of the music scene i love, and it's a global scene - I'm happy to have found a place in it, and always excited to find people in the local scene that are excited about the music i love as well. |
sup kris? you alive? lol
wanted to come and support (like always ;-) )
but i believe my picture is already hanging in front of vision with wanted (for telling the truth) on it...
....i may use a disguise tho... mwhahah |
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| dynomite8 |
| quote: | Originally posted by peteone
yeah of course you think that way, you're trading gigs with both of them in LA
ohh wait whos on the lineup next week?
btw im back to shake some things up again.. |
i'm not trading gigs with anyone. i don't book avalon where apparently milo has an upcoming gig. dino has an upcoming gig at spider club through steve prior, which again, i don't book. i'll be playing frequently at spybar through the fall because i've agreed to play there exclusively instead of playing any of my previous chicago residencies.
i'm backing up dino because he's one of my best friends, and because you have no clue what you are talking about. i have no plans to play at vision nor have i had any contact with milo since i left.
i have value to dino because he knows i will bring a ton of people and because he trusts my music. you want a gig? go get to know the music directors/promoters, put some time and energy into the local scene, make some music.
no offense but you are delusional. create a product somebody wants instead of wasting your time on a message board whining about how the powers that be look out for their own interests. |
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