The DJ as Artist

“I’ve pretty much seen the whole thing in America, from the beginning,” said Doc Martin, when asked about the transformation of house music and rave culture. Today, house music and various forms of electronic dance music have tapped into a mainstream vein in unprecedented measures. Especially as the Ultra Music Festival, fueled by a roster of popular internationally known DJs such as David Guetta, Steve Aoki, and Benny Benassi, awaits literally hundreds of thousands of fans for its upcoming second weekend. It’s become clear that the electronic music experience, neon lights an all, has evolved into a staple of the digital Millennial Generation. However, when Doc Martin, Mark Farina, and local DJ Carl Michaels were all introduced to EDM, electronic dance music, and house music early on, the genre was still beginning to gain traction.

Mark Farina found himself right in the thick of it. “I was really lucky to grow up in Chicago in the 80s,” he said. Though, as Carl Michaels stated during an interview, many have debated the actual origins of house music. Chicago is known to be one of the prominent touchstone cities of the genre. As a teenager, Mark Farina learned how to work a turntable by observing the DJs at the downtown nightclub Medusa. One night someone suddenly handed him the reins—it was nerve-wracking. “People used to boo,” he said, if a DJ wasn’t working with the crowd, which could consist of 300 to 900 people. Though the rest of the night was a blur, one might assume that things went well for the now internationally known DJ. In 1988, he met DJ and music producer Derrick Carter who sparked Mark Farina’s love for house music, leading him to experiment with different sounds, eventually developing his signature “mushroom jazz.”

Doc Martin said he was always into alternative music, and with the 1980s came a rush of new sound with new wave, varied styles in hip-hop, and artists like Depeche Mode and The Clash. He said he would shop in different record stores in San Francisco and a man who had moved from New York turned him on to underground club music that was developing in the east coast, that combined styles and techniques from multiple genres. At the time, some people were just calling it names like club sleaze for the early low tempo “drugged out” sound. “I thought it was really good, really hypnotic and I really kind of got into it. Later on, I found out it was house music,” he said.

Most might now be familiar with the vibrant imagery that often comes paired with EDM, whether it’s the mist marbling over captivating light shows, scantily clad ladies in colorful fluffies, or gloves and LED hula-hoops dazzling partygoers soaked with MDMA. Still, as the audiences who explore it have evolved and expanded over time, the culture surrounding the genre has also undergone major changes in surfacing from its underground status. “I think the big rave thing has almost become more of a business for people in sense,” said Doc Martin. While in its earlier stages much of electronic music and rave culture was powered purely by the obsession for the sound, he said that it has become almost a contest for some promoters to can get the most marketable, high-profile names through the door.

However, it also seems that others are now returning to a more inviting approach. “That kind of vibe is coming back on the club and underground level, again, where the promoters are just really into their music. They’re hearing records from certain artists in Europe… and they really want to hear these guys play out live,” said Doc Martin. “Especially with the smaller parties, and when I say smaller parties, I’m talking 300 to 1,000 [people], it’s become more of a community, again.”

“I don’t feel like rave culture really exists anymore,” said Michaels. DJ Michaels said that while he believes that rave culture has diminished, as the concert industry has sort of absorbed it over time, he doesn’t consider it a negative thing. While it has gone from being more about a dance party environment to crowds facing a DJ, it’s also become a bit more social and more controlled. “As much fun as it was to go to an abandoned warehouse in Queens with your closes friends, it was dangerous,” he said. “Of course, I’m looking at it from a 36-year-old’s point-of-view. [When I was younger,] I didn’t care. I was like, ‘This is awesome… It’s all ours.’”

Along with the overall safety aspect that the concert industry has brought to electronic music, Michaels also sees positive factors in its commercialization. While many believe that mainstream house music has strayed too far from the original vision, Michaels respects the opportunities that this presents. “Not every has to be a purist. Those people who are doing mass market dance music, if they open one person’s mind to the stuff that I’m doing, if that facilitates it, then it’s helping me,” he said.

As new genres and new technology has emerged over several decades, the overall definition and sound of house music and all its sub-genres have also mutated. Mark Farina said that classic house music embodies a wide scope of sound and described his own style as incorporating a large variety from slow hip-hop, to soulful disco, to “funky bass with a bit of oomph.” In fact, this is part of what attracted him to this music and to the art of DJ-ing. “I think it’s pretty creative,” he said, “I like the open, non-limitations.”

Of course, behind every form of music and each music event, there must be a producer and a performer. In the case of house music and EDM, it’s a world that is dominated by DJs. However, should a DJ be viewed as an artist on par with other notable musicians? Can electronic music be admired as art? There’s no questioning that many, like David Guetta and Tiesto, have built up their own rock-star-status fan bases, with thousands of admirers overlooking rising ticket prices to party with their favorites. Still, as technology has transformed the accessibility to the art of DJ-ing, sparking debates about reliability on programs and laptops, it’s worth discussing the talent behind the booth.

Though all three DJs began their careers on vinyl and traditional turntables, Doc Martin, Mark Farina, and Carl Michaels have all integrated new technology into their live sets at different levels. “Vinyl can be problematic,” said Mark Farina. “I’ve embraced CDJ technology.” He explained how the CDJ 2000, which plays back audio files from CDs, USB sticks, SD cards, and DVDs. It eliminates certain issues that come from vinyl, such as bass feedback through needles and, of course, slipping. He said it also allows a bit more control over elements like pitch and tempo, without completely distorting the sound. While both he and Doc Martin primarily use CDJs and memory sticks, they’re also happy to play vinyl when the occasion allows for it. 

Michaels said that while he resisted using computers for a long time, he now uses them, but by interfacing his laptop with some of his original equipment. “I use a program called Traktor and I hook it into the CD player, so I can play from the CD player, but it’s being fed through my computer.” He also isn’t fazed by any controversy regarding the mix of digital technology into the craft, recognizing that the creativity of the sound lies within the creator.

One thing that they all have in common is that they don’t do pre-recorded sets. “I always like to contour my set,” said Mark Farina, discussing his approach from show to show. For Doc Martin, it’s about the challenge, saying he would be bored if he found himself doing the same music every night and always knowing what’s coming next. “If you just do the safe thing all the time, you don’t challenge yourself and therefore you’re not challenging your crowd,” said Doc Martin. “I try to know my music. And when I get out there, I just free form it. Sometimes when mistakes happen that’s when the magic happens, as well.”

When really observing the craft as an art, one has to look into the expression of the music and the creativity that each DJ puts into a set. “You can create moods and atmospheres with the music you play. There are certain DJs that can hypnotize a crowd within four or five songs,” said Doc Martin. He explained that part of the art is in the way one puts together the records. He said he tends to do more long mixes, layering as the show progresses and injecting his personality into the sound, whether it’s bubbly or dark and mysterious.

“If they’re not looking at it as art, then they don’t have it in their soul. And that’s fine, but you know when you’re passionate about something,” said Michaels. “What you hear might sound like just one song playing, but it could be three and I’m doing that because I mix well.” With a laugh he added that he might even drop an Oscar Wilde audio track into the mix, to see if anyone knows what’s happening.

Days before the Shakedown, each DJ already had positive vibes about performing for the crowd. “In Philly people understand a certain funk,” said Mark Farina. Doc Martin added, “I love Philadelphia! I’ve been going there for years.” Michaels said that he was excited about hearing Doc Martin and seeing how his music had evolved. “He has a very unique sound. When people say ‘What does he sound like?’ Nobody else,” he said.

What began in 2002, as a “Raise the EP” promotional event for artists of Philly’s own Worship Recordings, continues to celebrate local DJs, as well as internationally renowned names, like Doc Martin and Mark Farina, who have built a reputation in the house genre. Originally founded by Worship Recording producers and DJs Rob Paine, Willyum, and Zacharijah, the Shakedown experience is one that allows old fans of the genre to come together as well as open doors with its inviting atmosphere. As the technology and culture surrounding house music continues to shift, this is one thing that remains constant.

The Shakedown, monthly at various locations. Check the Worship Recordings website for update venue, time, and pricing information.