A Quote by Paul Oakenfold

When I started DJ'ing, it was no big thing. There was no money in DJ'ing, and you did it purely for the love of playing music. — © Paul Oakenfold
When I started DJ'ing, it was no big thing. There was no money in DJ'ing, and you did it purely for the love of playing music.
I started DJ-ing in the '90s. DJ-ing is in every record I do. When I make records I make them for DJs.
DJ-ing itself is not just about playing songs. The art of DJ-ing is presenting new songs to the crowd that they haven't heard before and creating a party vibe that's different than just listening to anybody's playlist. It's the only way to truly be big and respected in your craft.
My thing is whatever comes at me, I'm there. But DJ-ing and music is my passion... I'm going to be unpredictable.
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.
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.
We found a great rhythm. Contractions started kicking in. I sat there with her, right between her legs. We got tribal on it, we danced to it! I was DJ-ing this Brazilian music.
When we were growing up, I got kicked out of Timbaland's house every day. He was the DJ for my brother's rap group in junior high school. So I was 7, and while Tim's DJ'ing and my brother's rapping, I'd be upstairs dancing.
Oddly I've been DJ-ing for many years, actually, but not many people know about it because if you go and DJ in a club and you've got 2000 people in there, then obviously about 2000 people know that you're a DJ.
I do really long DJ sets - I play for five or six hours sometimes - but the live shows are a bit more compact. The arch of how to tell a story, where the energy is, where you have peaks and drops, where things go up and things come down, that's all being informed by DJ-ing.
I was DJ'ing house music way back when - I'm not like a new house guy.
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 was making crappy beats since I was, like, 17 or 18, using Florida rappers, where I'm from. Then I started DJ'ing because I just wanted to have a new job.
I was a musician first, the whole DJ-ing came after.
What I did is I bought a drum set and I listened to 80s music, and I played, and I was, like, DJ'ing, and I said, 'this is what I wanna make. This is how I'm gonna give back to the people. I'm gonna make this party music.' It pulled me out of the depression, and then I've never been depressed since.
And more than anything, I like the improvisation of jazz. That's the same thing with DJ-ing. There's so much improvisation you can do with cuttin' and scratchin' that's reminiscent of jazz music, because it's all about how you feel. You're capturing a vibe and just going with it.
I'd been DJ-ing in these clubs in N.Y. and I hated everything that was coming out. So I decided I would make it myself. People were making mash-ups or remixes, but I was extra bored, so I actually started remaking these records from scratch.
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