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oi I want to roll an ADJF crew to this event. If you know me and you're mem8 you can crash at mine. Who's in?

Club promoters have hailed the influx of morons, half-wits and imbeciles as further evidence of a global clubbing renaissance. DJ Tom Logan, who runs the Sexy Gurnfest Deluxe club night, said: “Last night’s party was absolutely packed, it was solid, wall-to-wall morons. “Morons are the backbone of this industry because it is absurdly easy to get their cash, they pretty much throw it at you. “I said, ‘Morons put your hands in the air!’ and they all responded obediently like the sweaty bovines that they are. Then I said ‘Morons make some noise!’ and they all mooed and bleated. “I kind of hate my life but Jesus Christ I am making so much money, I’ve had to rent a massive yacht just to store my cash – a cash yacht.” Nikki Hollis works at superclub Robot, operating the VIP hand dryer: “The normal hand dryer is a tenner per go, but the VIP hand dryer is fifty quid. People ask me what the difference is and I tell them ‘the VIP hand dryer is for VIPs’. “Then they give me fifty quid.” Moron Emma Bradford said: “I want to see someone from reality television playing lab rat music off a laptop in an environment where drinks are about fifteen quid. “I am having the stupid time of my idiot life.” Source: thedailymash.co.uk

You can only use what has been provided in the .zip What you do with the contents is up to you.

Sweet

As long as you end up with a DJ mix, how you fuck with the tracks and aca's is up to you. You just can't introduce anything outside of that .zip of supplied media.

At the indie-meets-dance club Echoplex in Echo Park, DJs spin, but just as often these days a floor-friendly sound will emerge in the form of a band, a laptop act or something in between, as was the case with Love Grenades on a recent winter night. The quartet’s three frontwomen dressed up like pinup girls, opera-length gloves and all, and cooed and sang in a correspondingly sultry haze, complemented by ’80s-inflected musicians on bass, guitar, drums and sequencer. The Grenades’ dance-punk sound has been remixed by friend-of-the-band Sam Sparro, another local artist who has skipped deejaying on the way to dance-floor stardom. Love Grenades don’t deejay, but their recent single, “Tigers in the Fire,” is being peddled on DJ culture’s No. 1 online retailer, Beatport. Clubland is being invaded by artists like these, dance-friendly acts that don’t need turntables to get their point across. The dance world has been rocked in recent years by laptop-, sequencer- and band-based acts ranging from Justice and the Black Ghosts to Booka Shade. Daft Punk’s Kanye West–led resurrection last year highlighted the duo’s own immersive, turntable-free live act. And the local nu-electro festival HARD Haunted Mansion surpassed the 5,000-ticket mark in the fall with nary a superstar DJ in sight. All this has even some jocks asking if the spin is no longer in. One of the hottest acts to emerge from the electronic–dance music arena in the past few years is Toronto-based producer Deadmau5, who got his start as a computer programmer before graduating to successful bedroom production. Because he came to deejaying from the tech-geek world, he faced culture shock on the club circuit. We can imagine him meeting all those douche jockeys caught up in drug-filled hazes of their own perceived stardom, egos stroked by groupies, guest lists and MySpace comments — all this stoke for, as Deadmau5 wrote on his own MySpace page, “some dude” who presses “the ‘play/stop’ button and occasionally move a pitch slider.” Late last year, Deadmau5 was interviewed by Irish Daily Star and gave a money quote heard around the DJ world: “I don’t really see the technical merit in playing two songs at the same speed together, and it bores me to fucking tears. I’d like [DJs to] dis-a-fucking-pear. It’s so middleman. They’re like fucking lawyers. You need them, but they’re all fucking cunts.” Here’s an artist whose music is required spinning for the biggest DJs, and he can’t hold his tongue (but his label can, and they declined to have him speak for this piece). Deadmau5 admirer and former Angeleno Dave Dresden has worn many hats over the past two decades, including radio host, dance-music journalist, music scout for BBC Radio 1’s Pete Tong, and half of defunct DJ duo Gabriel & Dresden. He says Deadmau5 is right. “The day of the DJ as a guy who plays other people’s records might be done,” he says, pointing to newer acts like Morgan Page, who often play their own music live via laptop. The superclub Avalon Hollywood has in recent years made more and more room for the post-DJ act while giving a cold shoulder to superstar DJs, especially those spinners who play straight-line hypnotic trance. While it still hosts plenty of big-name jocks — mostly of the minimal-techno variety — the venue has seen more than its share of hybrid live acts, including Booka Shade, Gui Boratto and Martin Buttrich. “I don’t think it’s over, I think it’s evolving,” Avalon co-owner Steve Adelman says of DJ culture. “I think people are going more into electronic bands, live acts and semilive acts. We strive to have a whole production and visual experience that’s not just focused on watching a guy on two turntables.” L.A.’s Frank Dominguez, a.k.a. down-tempo electronic act Aime, started deejaying 10 years ago but switched in recent years to incorporating nonturntable elements, such as keyboards, effects pads, a drum machine, a laptop and even an iPod. At 31, he plays for a generation of clubgoers more accustomed to the shuffle-play dynamics of an MP3 player than the ecstasy-fueled Botts’ dots of a superstar DJ. “People now would much rather see an artist performing with more than just changing records back and forth,” he says. “The kids go with what’s more stimulating.” Adelman, who’s been in the superstar-DJ-booking business since the mid-’90s, says those most affected by the demise of the name DJ are local “midlevel” spinners, not huge trance names like Tiësto and Armin Van Buuren. URB magazine editor Joshua Glazer adds that some of the so-called midlevel DJs who had settled stateside around the DJ boom of the new millennium have gone back to Europe, replaced locally by nu-electro bands. Still, Glazer argues, the DJ isn’t going anywhere anytime soon. “I think the reports of the death of the superstar DJ have been greatly exaggerated,” he says. “I was one of the first people to declare that death. But compared to five years ago, I definitely think the DJ is on the rise.” He notes that cheap laptops and easy-to-use software, such as Serato Scratch Live and Ableton Live, have made it easier than ever to deejay — virtually — for a new generation of point-and-click jocks. “It might not be like 1999,” Glazer says, “but maybe we’re just not noticing.” Source: LA Weekly

inally Numark announced an update to their widely popular NS7, the Numark NS7 2. With Pioneer releasing the DDJ-SX recently many DJs have wondered what is better, the NS7 or the DDJ-SX. Well now Numark have moved the goal posts yet again leaving the other companies playing catchup. First off is 7″ motorized turntables which should give a fantastic turntable like feel to them. Its also got a 4 channel mixer build in and 16 backlit velocity sensitive MPC pads which seem to be all the rage lately. As expected the build quality is some of the best out there but its those motorized turntables that we are most interested in getting out hands on. We will have more news on this soon but in the mean time check out the larger image and feature specs.: 7” motorized turntables with 3600 ticks of resolution 4-channel mixer and 24-bit audio interface built in 16 backlit velocity-sensitive MPC pads from Akai Professional Capacitive touch-sensitive filter, gain, EQ, and effects knobs High- and low-torque turntable settings, 33rpm or 45rpm Comprehensive Loop, Sample, Slicer, and Hot Cue controls Strip Search™ virtual needle-drop technology Curve-adjustable CP-Pro crossfader Dedicated iZotope® effects controls Rugged all-metal construction Integrated laptop stand Serato DJ software included See more at: http://hotdjgear.com/numark-ns7-2-contr ... NzrlE.dpuf

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Presents... AN EPIC COMPETITION WITH FRESH AS FUCK PRIZES Rules: You must use all tracks and acapellas (link below) in your mix. No extra tracks or acapellas is permitted. You must use a discernible chunk of both acapellas in your mix. Any effects etc and equipment can be used. Submission: Due date for submission is midnight 15 September 2013. Voting will be open until midnight 30 September 2013. The winner will be announced on 1 October 2013. Mixes must be uploaded to your soundcloud and tagged with 'ausdjforums' 'ADJF' and 'overtureclothing'. Email a link to your mix to info@ausdjforums.com - make sure you allow widgets etc for embedding in the voting thread. Tracks are provided for purposes of this competition only. Format: The mixes will be put up in a competition submissions thread on ausdjforums.com with voting in place. The winners will be determined by number of votes. Judges reserve rights to the final decision (ie. in a tie). Anti-cheating measures are in place; if you cheat, you forfeit. Prizes: 1st: $50 Beatport voucher, $50 voucher at OvertureClothing.com & 4 ADJF Lanyards + Stickers 2nd: $20 voucher at OvertureClothing.com & Four ADJF Lanyards + Stickers 3rd: $10 voucher at OvertureClothing.com & Two ADJF Lanyards + Stickers * Lanyards and stickers will be sent with your first Overture purchase. All submitted mixes will receive exposure through the ADJF social network. DOWNLOAD: Removed Tracks: Armin van Buuren & W&W - D# Fat (Original Mix) Claptone Feat. Jaw - No Eyes ( Original Mix ) Daddy's Groove & Cryogenix - Vertigo (Original Mix) Dimitri Vegas, Moguai & Like Mike - Mammoth (Original Mix) Hard Rock Sofa - Rasputin (Original Mix) Lana Del Rey - Summertime Sadness (Cedric Gervais Remix) Sander van Doorn & Mark Knight vs Underworld - Ten (Original Club Mix) Tiesto - Chasing Summers (R3hab & Quintino Remix) Acapellas: Above & Beyond Feat. Richard Bedford - Sun And Moon SOFI Feat. Skrillex - Bring Out The Devil

On Saturday 31st August 2013, Axwell’s long-standing partnership with Carlsberg will be taking over the mammoth outdoor 9,000-capacity Swedish Maritime Museum in his home town of Stockholm, for Sweden’s biggest outdoor event this summer and for the largest ever Where’s The Party? concept show to date! Just announced to join Axwell for one of the biggest electronic events in Sweden’s history will be fellow countrymen and Axtone label favourites NO_ID, who will be bringing their unique brand of high-octane house music to the open-sided Marquee, set right next to the Swedish Maritime Museum, by the river, on the 31st! If you fancy your chances at winning the prize of the Summer, here’s how you enter… HOW TO ENTER: To be in with a chance at winning the ultimate prize – flights, accommodation, tickets to the event and a meal at Axwell’s new restaurant in Stockholm – for you and a friend, simply tag who you want to take with you using either Facebook or Twitter and explain why they are the Center Of Your Universe! Make sure you include the competition hashtag #AXWELLWTP in your entry to be in with a shot. The winner will be announced on the 19th August. Good luck! CLICK TO ENTER COMPETITION NOW THE PRIZE: Flights, hotel accommodation, tickets to the event and dinner at Axwell's brand new restaurant in Stockholm for you and a friend from anywhere in the world! www.axwell.co.uk

There is a chasm in EDM culture that is aggressively forming between the haves and the have nots–more specifically between those with extensive musical knowledge and those that are just here to have a good time and get ‘plurnt up’. We’re all guilty of perpetuating it- hating on dubstep- laughing at trance-faking a seizure while listening to D&B… We are catalyzing the divide between our fellow music lovers and music genres. We’ve seen the hate mail; we’re aware of the stereotypes. We are cannibalizing our own. The most prominent contenders? EDM Bro-types and EDM Hipsters. The visuals are brewing, we can feel it. Champagne-guzzling, neon tank types and their tight-lipped, sober Sally counterparts who know how many BPMs are in a cup of coffee. Can you feel the love? First off, if you know more about electronic music than Beatport, congrats! Much respect for knowing each particle structure of the EDM sub genre–your musical prowess is incomparable and we tip our hats. But sometimes it’s good to take a step back and examine the big picture. There’s so much hate and one-upsmanship in this community, but at the root of it all, music is created to unite. Or at least that’s what we read on a coffee mug once… And to all the bros and bro hoes- you can learn a thing or two about the DJs you are watching. Have a little respect for the music- YouTube an artist, buy a track off of iTunes, realize that Tim Berg and Avicii have a lot more in common than you may think. We can all learn from each other. Besides, there are greater forces of evil at hand that we should unite against such as the Zombie Apocalypse and Paris Hilton moonlighting as a DJ. 
Although the music industry has a capitalist black heart, the art form is an open forum for people across socio-economic classes to partake in. Whether you’re a musical prodigy or just the average bro that is all about “that one song” by David Guetta–let’s share the warm, sweaty embrace of EDM. Peace and love; kumbaya and shit. 

We all need to come together in a Zoloft-like haze and love each other–no matter how many vodka crans that headbanded Bro spills on you. He may only know 1/8 of the lyrics to “Clarity”, but is his love for music any less real? It’s Four Loko real. Source: magneticmag.com

Why is it so expensive?

Hey! Have you ever thought to yourself “Man, I love music. I have almost 500 songs on my iPod. I can probably play one song following another song. I should be a DJ.” Or have you been DJing in your basement for years, thinking “I’m better than those DJs playing at the club. I need to play for larger audiences than just my mom’s cats.” Well, StuffDJsHate.com is here to help. We are in a time when any former Playboy bunny or reality TV “star” can get paid ridiculous sums of money to DJ. Here’s your quick and easy guide to getting your share… STEP 1 – EQUIPMENT You’re gonna need some expensive equipment to be a DJ. No, not turntables. Don’t worry about those. You won’t have to use them. If you already own a laptop, you are half way there. Now you just need a DJ program (or App if you are using an iPad) and songs. This is one of the few times you don’t want to steal all of your music. I recommend joining one of the online record pools and downloading the top 50 or so most popular files on there. Make sure you have plenty of the ones labeled “Transition”. This makes it easier to act like you are mixing. STEP 2 – “FRIENDS” Start a MySpace Music page, a Facebook page, and a Twitter account. Beg as many people to “Like” you, “Follow” you, and basically “be” your “friend”. It helps to find other upstart DJs and trade follows with them. It is of no importance whether or not these people have ever met you. You just want to be able to say that you have hundreds, if not thousands, of followers when promoters ask you. (see below) STEP 3 – GIMMICK It’s important to stand out, and skill and talent have very little to do with that. First of all, try to be really attractive. Better yet, try to be a really attractive female. If that doesn’t work, find another way to get noticed. White guys – grow a ‘fro or silly facial hair. Black guys – get a mohawk or dress like a New England prep schooler. Try anything. Wear a mask. Dress like a clown (you could be DJ Bozo). The possibilities are endless. STEP 4 – DEMO You are going to need a demo mix to prove that you are an awesome DJ and not just a pretty face (or a sad clown). Go online and download the mix of a highly paid (and possibly respected) DJ. Study the mix intently. Make sure there are no “drops” or places where it is evident who made the mix. Then burn the mix to a CD and say you made it. Put your promo picture on it, make some copies, and start handing them out. STEP 5 – PROMOTERS You are going to work with a promoter in order to get booked at most high-end night clubs. The promoters don’t really care about your talent, they just want to know what you can do for them. So, offer to save them money by working for a third of what they are paying their current DJs. Talk about how many people you bring out (this is when you brag about your ridiculous amount of “friends” from above) Or offer them blow. Or offer to blow them. Or both. Once you are in with a promoter, you’ll get some gigs, which brings us to the final step. STEP 6 – GIG Make sure you get a choice time slot from your promoter pal. You want to play when the crowd is drunk and already dancing, so you won’t have to do much work. Play the most popular tracks you have. If it’s a bit earlier in the night, play the least popular first and work your way up. If it’s later at night, play the most popular one first and work your way down the list. Don’t worry if anyone plays before or after you. Fuck those guys. Make sure you look like you are turning dials, listening to your headphones, or doing some fake scratches. Every now and then, take a step back and fist pump. Now, take advantage of those drink tickets and bask in your awesomeness. You earned it. Source: stuffdjshate.wordpress.com

Back in May, Hatnote’s Stephen LaPorte and Mahmoud Hashemi created an interesting, real-time visualization of unregistered Wikipedia edits, giving us a peek at the sheer scope of the site’s dedicated users community. Their newest project takes it a step further, setting the edits to music and creating a zen-like soundtrack to the Wikipedia’s constant and chaotic revision process. A little more from the creators: Bells are additions, strings are subtractions. There’s something reassuring about knowing that every user makes a noise, every edit has a voice in the roar. (Green circles are anonymous edits and purple circles are bots. White circles are brought to you by Registered Users Like You.) Unlike Hatnote’s first visualization, “Listen to Wikipedia” tracks both unregistered/anonymous user edits as well as edits from user-driven bots, making it much more active than the original map. You can toggle and filter the edits by language to fit the soundtrack to your tastes. We wrote this post to the peculiar, dulcet tones of edit wars in every available language and highly recommend it. Source: buzzfeed.com

Spin a vinyl with your ashes in it at your own funeral

Jason Leach, founder of And Vinyly, has announced a new option for those who'd rather die than live without music: Have your ashes combined with 24 minutes of audiophile-quality vinyl. The process is simple: Ashes are delivered to a pressing plant and sprinkled into raw vinyl. That said, it's pretty expensive, costing $4,600 for 30 copies of a record. If you don't have any music in mind, Leach's team can create a score for you, though that'll cost you, too (about $760 per track). Source: businessweek.com

From Brazil to Malaysia, Thailand to Canada, electronic music festivals are springing up worldwide as record labels and promoters push for a dance revolution with a new beat. Major players in electronic music -- an industry worth an estimated $4.5 billion -- are shipping festival brands to emerging markets in Asia and South America in an effort to increase the music genre's following. Speaking in an exclusive interview with CNN, superstar DJ David Guetta said: "We are keeping that scene alive and always exciting." The french music producer -- who has 45 million Facebook fans -- added: "I think it's going to grow even bigger because if I look at the history of Hip Hop ... they are 2 musical genres that you can compare because they both came from the underground then became trendy." But he admitted that electronic music has a long way to go before it's as successful as Hip Hop, an urban street genre. Festivals such as Tomorrowland and Sensation White -- a leading dance event which will visit 22 cities worldwide in 2013 -- are rolling out to new markets to give audiences the chance to listen to electronic music. In July, 180,000 music fans massed on the small Belgian town of 'Boom' for Tomorrowland -- one of world's largest music festivals -- as gig enthusiasts from 214 countries flew in for a 3-day bonanza of electronic dance music. Festival organizers ID&T even teamed up with Brussels Airlines to arrange 140 flights from every continent to Belgium. At 30,000 feet, fans were treated to an in-flight DJ, allowing them to party to their favourite electro beats in transit. This unique approach is all part of ID&T's strategy to take electronic music global. After eight successful years, the entertainment company is planning to host its first Tomorrowland festival outside Belgium in Chattahoochee Hills in Atlanta. Speaking at the International Music Summit (IMS) in Ibiza in May, ID&T boss Duncan Stutterheim said electronic music has "no language barriers," adding that the company is going to "enjoy a nice ride" in the next 10 years. "We are talking finally to India, to Japan, to China, to Malaysia. We did a tour in Thailand... They all want to do the festivals so we are in a luxury position," Stutterheim said in his speech. Hardwell: 'Everything happens online' Tomorrowland already has 4 million social media followers and over 80 million people watched the after-movie of the concert online. According to a report by industry consultant Kevin Watson, who produced the IMS Business Report, over half the electronic dance industry's value, approximately $2.5 billion, comes from live clubs and festivals. Speaking in Ibiza, he said: "We've got recorded music, we think that's worth $1.25 billion and we've got a couple of other things, sales of hardware and software, brand sponsorship and everything else linked to Dance is getting ridiculously popular. So we think that's worth at least another three quarters of a billion." Marc Geiger, head of music at William Morris Endeavor, one of the first agencies to start a dedicated electronic division about six years ago, believes industry growth is providing firms with new resources. But he warns: ''It's big money now and with big money comes a bigger responsibility of growing up." Source: cnn.com

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