Following the footsteps of our recent editorials of the likes, is this (summer) one, quite explicit of the role which has been played by the DJ's in today's situation. Could it be that, after giving birth to the club culture some 30 years ago, they will ironically be the ones who are going to cause its death ? Elements of reflexion thereafter…

Yes we definitely know that we may not make us friends here or there while pursuing on this kind of topics. But isn't that the definitive work of a medium to try to find answers on its aim to contribute to a better understanding/acceptance of the scene it's supposedly dedicated to ??? We leave you with the response to this, knowing that time will tell if ever it hasn't already done so. And the truth is it, no doubt, has from the very first DJ's to appear in what would some become discotheques to the central position which is their on today's production.

History, as elesewhere brilliantly depicted by UK writer Tim Lawrence on his recent Love Saves The Day book, would have its fundaments to be written in a approx. 15 years period time, from the mid 70's to the end of the 80's. Back in the days, music was still produced by musicians, with the help of arrangers and authors, as notoriously demonstrated by the association between Vincent Montana Jr, Dexter Wansel and PIR pair Gamble & Huff that have given birth to the Philly sound. Then the producers would take the centrestage shaping their own sounds that would become instantly identifiable from Barry White (himself and Love Unlimited Orchestra) to Maurice White (Earth, Wind & Fire, The Emotions) and Norman Withfield (Undisputed Truth, Rose Royce, The Temptations). Not to mention those who would appear on the already post disco era like Nile Rodgers & Bernard Edwards (Chic, Sister Sledge, David Bowie, Claude Nougaro) Jacques 'Fred' Petrus & Mauro Malavasi (Change, BB&Q Band, High Fashion), Randy Muller (Brass Construction, Skyy, Funk Deluxe), Narada Michael Walden (Stacy Lattisaw, Wanda Walden, Sister Sledge) and Leon Sylvers III (The Whispers, Dynasty, Shalamar) to name but a few. Meanwhile, a first recession – in 1979 – and the proclaimed death of disco were to have key consequences on the following decade with the emergence of new forms of music conceived with the assistance technology, from hip hop and breakdance to R&B, house and techno. Formats that would allow a vaste amount of people (incl. DJ's) to produce music in their bedrooms while eventually cutting the production to some 6500% of its initial costs !

DJ's, apart from already doing remixes, would see there a natural extension to their activities, not to mention the opportunity to make themselves some better money in the years to come. This said, the basic finances would not be found in the U.S. but in Britain, making this country the epicenter of the dance culture with no equivalent to this day. DJ's would soon to become the absolute kings of this world seing some of them reaching a status which, relatively speaking, could be compared to the current soccer stars, getting the earnings that come with. Meanwhile, they would be placed in the obligation to put out regularily new releases or compilations in order to generate media exposure and then be booked in the clubs.

This said, if some people have brilliantly demonstrated the fact that non musicians could produce (good) music, it has naturally not been the case of everyone and as a result, the quality level of production has considerably decreased and the sales amount as well. Kraze for instance has scored more than 900,000 units with " The Party" at the end of the 80's, when lots of label managers talk about 2,500 as an honnest performance 15 years after ! And you would eventually see big names on album sleeves nowadays athough they've seen their works done by some anymous studio worker… And you would also see DJ's claiming for fortunes, 1st class flight ticket(s), four star hotel and a limo pickin'em up at the airport to come to this side of Europe, although accepting ridiculous fees in comparison in their home country !

Some of you may allege against this that it's nothing but the law of the market and, no doubt, will be right. But how would you react paying the price for a Rolls Royce which might reveal itself not being a genuine one at the end of the day (night) ? Guees we all need being more selective, from the labels putting out music to the people playing (or reviewing) it, meanwhile we would get rid of those who're taking us as assholes and reestablish the talent as the sole criteria of interest.

Wishin' U some nice summertime.