A Quote by James Murphy

I'm a DJ, and I live in Williamsburg, and I run an independent record company. — © James Murphy
I'm a DJ, and I live in Williamsburg, and I run an independent record company.
I live in Brooklyn, in Williamsburg, so I just like to wander around. Williamsburg's such a cool little neighborhood community spot.
When you are doing music videos through the '90s, which I did, and the 2000s, you were put in the position, really, as an independent filmmaker. You were being financed by a major record company or a minor record company or whatever.
I don't really go out, 'go out' that much anymore. I live in Brooklyn, in Williamsburg, so I just like to wander around. Williamsburg's such a cool little neighborhood community spot.
The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
Traditionally, with a DJ set, you just go hear DJ that has a good reputation and let the DJ take you somewhere. It was up to the DJ what he wanted to play. Typically in dance music, people didn't know most of the songs a DJ played.
Interscope is run more like a rock band than a record company. It's run in a very spontaneous, heartfelt way.
I DJ'd for years. I DJ'd in high school, and I think my parents thought it was a passing thing. And then when I was in my second year of college, I was like, 'Yeah, you guys don't need to send me money anymore. My DJ gigs are good enough. I'm selling music; I think I'm gonna have a record deal. I can pay my tuition.'
I'm not only a DJ. I run my own record label and I work out of my own productions.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
When my record comes on, you know that's a DJ Khaled record. That's my formula, and the people love it.
I come from nowhere Brooklyn, New York. Williamsburg, Brooklyn. These days Williamsburg is kind of a hip area, but when I grew up there, the taxi drivers wouldn't even go over the bridge, it was so dangerous.
I use the echo effect a lot when I DJ because it allows for smooth transitions, especially at different BPMs. It also adds a studio quality to live DJ performances.
I started DJ-ing in the '90s. DJ-ing is in every record I do. When I make records I make them for DJs.
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