I started performing in 1950 at the age of 16 when I joined the Burton Lester's Midgets as a performer. Shortly after, I became a DJ with Mecca Organization before joining Billy Smart's Circus as a clown and shadow Ringmaster.
I prefer to unwind by DJing. I learned that from Mike D from the Beastie Boys. After a show, he would DJ. Once I saw that, I wanted to do that. And now DJing is like my lifeline. I love the power it represents.
As a producer and DJ, I just like makin' great music and hot records for the club.
I like Future, Young Thug, Mike WiLL, DJ Spinz, Metro Boomin, Drake, Kendrick.
A turntable is the classic DJ's weapon for playing vinyl, but the mixer is the device that actually allows you to blend multiple tracks together to create a mix.
As an individual I was known as the DJ or the mixer.
Bobby Bones is a young country DJ who does a widely syndicated morning show. He's at his best with his BobbyCast, in which he talks to Nashville up-and-comers such as Kelsea Ballerini and Lauren Alaina. Guests are encouraged to relax on Bones's couch and talk about anything they like.
I wouldn't call myself 'into the DJ scene.' I have friends who are DJs, like James Murphy. I was really into the DJ scene at his wedding. But generally, I'm not at the clubs. I've never been to a rave.
I did two records with DJ Mustard. They were stupid, like, crazy hits, so we just kept on working, and we did a whole project together, so we got that coming.
Some nightlife places, people aren't there for the music, and it's depressing. I'm not just a club DJ; I am a producer, and I'll only DJ when the crowd is there to enjoy the music.
And I know how many DJ pools have grown and I know how DJing has grown in the overall, but that was the technical side of it to me. DJs were rolling around, looking for stuff to buy and looking to see what was in the store when they get there.
You have the core hip-hop, which would just be beats and breaks, more something like what you hear with DJ Premier. Then you get into the more highly produced hip-hop, which is something like what DJ Khaled does. But at some point, it starts to get kind of pop.
I've always been fascinated with radio and broadcasting. I did fake radio shows as a kid, where I was a DJ and stuff like that.
I collect records pretty assiduously, so I've got, like, a massive record collection. I still DJ.
The scary thing is when I did my set in Texas everyone was excited. The show was great. I was done and the next DJ put something on vinyl and the difference! The quality!!
There is a scene in the movie with DJ Cutkiller, one of the biggest European DJs from France, and he was scratching like crazy. When I saw that, I was 14, and I was like, 'Yo that's what I want to do. That's crazy.'
Lyrics came quite easy early on in my career. But I always wanted to push it further and stand out a bit more. We were coming from the garage era when lyrics were simplified, purposefully, to work in the club environment. They were about hyping up a crowd or bigging up a DJ. Moving into grime, our lyrics became more in-depth.
We used to play a lot of Fela Kuti in the early days of hip-hop. In my DJ sets I'll jump off into rock, salsa, African. I like to play some crazy stuff and see the vibrations of the people.
I did a few DJ gigs at empty clubs, sort of as a warm-up set before Flume was a thing. I did one when I got big enough, and I had five friends come down, and they were the only ones dancing. That was one of my earliest ones. I was super nervous.
