What are the free hours for DJs

Idols - cult

The "fame" of a techno DJ arises essentially from his typical actions: The DJ creates a community-building quality of experience for the participants of the party through his work and thus becomes a cult figure (in) his scene.


According to Dr. Motte - bourgeois Matthias Roeingh -, "Father of the Love Parade" and one of the most experienced DJs, the work on the DJ desk is extremely simple: "Well, DJing is very easy: You take two records, put them on top of them Platter, let the first run, mix in the second, take the first down and put on a new one. And so it goes on and on. " For the competent DJ, the rest is evidently a more or less unquestionably incorporated routine and recipe knowledge. However, Dr. Motte also - similar to Felix Kröcher, the "DJ of the year 2007" (albeit with a clearly different "body style") - expressly as an "interactive DJ". For him it goes without saying what another of his world-famous colleagues, DJ Westbam - bourgeois Maximilian Lenz - once vehemently reminded all recorders: "Don't forget the party!"

In this article we want to try to show that the "fame" of a DJ, that is, his appreciation in the techno scene, essentially comes from his - at least to a large extent, competent party community perceived as such - (scene- ) typical action grows. This brings us closer to the phenomenon of the DJ cult from the banal everyday work and thus, as it were, from the opposite side of what Ulf Poschardt assumed in his dissertation published in 1995 under the title "DJ Culture": [1] While Poschardt has a long history of aesthetics des DJs as a cult figure of the 20th century who developed over many stations and who eventually arrives in the techno scene, but actually always transcends it - intellectually and aesthetically - we try to understand how the idol function is of the DJ out of his situational practice on the turntable - constantly new - emerges.

So we pay less attention to the media-symptomatic question of how much "fame" precedes the DJ performance and thus turns the party participants into fans in the very conventional sense that they take a certain DJ seriously because he is already considered important or because he's already famous. Rather, we pay attention to what the DJ typically does when he acts competently as a DJ at a techno party, because we consider this quality to be the sine qua non of his "fame". That means, we undertake a structural description of the normal stage conditions under which the DJ works and which he, as a role player, copes with depending on the situation. [2]