Dance music isn’t the easiest business to make into a career.  Trust me, I’ve been a DJ for over 9 years now, and I’m still trying.  However, it’s a dream that many of us still hold onto, and strive to achieve.  The biggest thing that holds back many young, aspiring DJs and producers from taking that next step from amateur to professional is knowledge of the industry.  Dance music, much like law or medicine, is a business where networking and knowing the ins and outs are of the utmost importance.  It’s so very important to know the who and how of taking the next step.  In dance music, the old adage holds true; it’s not always what you know, but rather whom you know.  In this multi-part series, I hope to shed some light on how to take that next step from amateur to professional.  We’ll cover contracting, networking, copyrighting, making business decisions, and overall preparedness for making the jump.

The first thing an aspiring DJ needs to be aware of is the obstacles in their way to achieving their goal.  I’m not saying pay more attention to your faults, but at least know what your limiting factors are.  This is almost as important as having good technical skills.  Reason being, sometimes you’re going to have to work harder.  In preparation for this article, I spoke with someone who faced some serious limiting factors early in their career. 

“Getting started in East Germany was tough, because there really didn’t have record stores or clubs” said Paul Van Dyk in a recent interview I conducted with him.  “My musical education came from radio stations, and this is how I knew about it (Electronic music).  My Grandma would go over to the West (West Berlin) and bring back mix tapes for me.  She actually bought me my first record.  It was OMD (Orchestra Maneuvers in the Dark). It was called ‘Organization’.”

Imagine trying to get started in a place where all creativity is stifled by an oppressive government.  Paul basically worked with the knowledge brought to him through the radio.  As Paul said in the interview, there were no clubs in East Germany.  He had to overcome both lack of public knowledge and lack of access to music.

“I started making mixtapes as something for my friends and I to listen to on the way to shows.  One thing I noticed after the wall came down and we started going to clubs was the music was very boring.  Certainly not exciting as we know it these days.”

One thing I’ve noticed from many now big name DJs is they created their own scenes out of necessity.  Paul did this, as well as Anabolic Frolic, Soul of Man, etc…  They didn’t let this disadvantage get in their way to achieving their goals.  As Timo Maas once said,  “When you live out in the country like I did, you have to work twice as hard as the city boys.”  Sometimes, you’re going to be in a situation where you have no choice but to put in that extra effort in order to get to the next level.  For example, I live in rural Alabama.  I know that I’m automatically at a disadvantage as opposed to people who live in Atlanta, Nashville, Orlando, Charlotte, etc…  This just means I need to put a bit more elbow grease into what I do in order to become successful.  I’ve tried to realize my personal limiting factors, and determine a strategy to get around them. 

Paul said, “One night, I was at a show with some friends of mine.  One of my friends overheard the promoter talking about how they were looking for new talent to play at shows.  My friend walked back out to the car and got one of my tapes and gave it to the promoter.  Not long after that, I got my first booking.”

This is a prime example of networking.  Remember that when you’re in a disadvantaged situation, it’s very important to make contacts with all the people you can.  Especially remember that in Christian Dance Music circles.  We are merely a microcosm of a scene.  ANYBODY that can help you take the next step is a valuable person.  Sometimes, the best results come from the most unlikely of places.  When your limiting factor is living somewhere with not many people, expanding your network is important because you increase your list of secondary contacts.  By secondary contacts, I mean friends of friends.  Think of networking as being a giant pyramid, with you being at the top.  From there, your number of potential contacts increases exponentially with each step down you take.  Without that one friend, Paul Van Dyk wouldn’t have gotten that first booking, and potentially would have never become what he has become.   

When I asked Paul if he had a message for DJs and producers trying to get started in the business, he said, “You see, the thing is: do whatever you do without compromise.  Make the music the way you like it because at the end of the day you have to stand in front of other people and you have to be very believable that this is the best thing at that moment.  And in order to do that, you have to stand 100% behind what you do and that means no compromises when you’re making music.”

Most importantly, you have to believe in yourself.  Believe in who you are, what you’re doing, and where you want to go.  Never get discouraged when it seems that your limiting factors are holding you back.  That just means it’s time to come up with a different strategy.  Never let anyone tell you that you can’t do something.  One important thing to learn though, is getting used to the word “no.”  On average, it takes 30 no’s to get one yes.  View each no as being just one step closer to the next yes.  Keep a positive attitude, and stick with it.  Readjust your plan of attack as needed.  If something’s not working, decide what isn’t working and how the problem can be fixed. 

Limiting factors are something we all have.  The real separation factor though is how each of us deals with the situation.  If the scene is lacking, how do you create your own scene?  If there are not many people where you live, how do you expand your network?  If your area has a very small exposure to dance music, how do you expose it to more people?  To take things to the next level, one must first commit to the next level.  Ask yourself if you’re really willing to put the work that it takes in, and are you willing to commit to work. 

Next time:  Promotions 101, or How (not) To Be Seen.