Sioux Falls DJ Blog | BPM DJ Productions

In my opinion, DJ AM is one of the best mix DJ’s out there.  He is also down to earth enough to participate in the Serato Scratch Live forum.  I thought I would share this recent post from him.  It basically spells out what DJ’ing for money is all about.  Yeah, you might personally like this and not like that, but when you hit the club, reception hall. gymnasium, or whatever, you are there to play to the crowd. 

“Here.. Since some of you seem to think I am a good DJ I will give you my formula. Since I stuck to this my WORK career went up and up.

part 1 - Girls…

There you have it. That’s it. Girls rule. I like girls for many reasons hahaha But the bottom line is they are VITAL to a dancefloor… Unless your at Rage (gay club in LA)
What, are you gonna play onyx, big daddy kane and have a sword fight? Its almost 2007. In LA at least (and I think most everywhere) girls in their 20s make up nightlife. They don’t know that shit. Old school hip hop to them is Biggie. I was playing Special Ed and a girl walked up and asked “Hey, are you gonna play any hip hop?” To entertain myself I said “Like what?” She said “Ummmm I dunno like some J lo or Puffy” THIS IS WHERE WERE AT PEOPLE! And this happens AT WORK!! I am WORKING for a promoter who PAYS me to make people LIKE THAT CHICK HAPPY AND DANCE. So that’s my job. If I wanna play my music I do it at my own club or at home. So, I focus on the girls. Now THIS is where the being a GOOD DJ kicks in.. For ME, I could play Fergie for her or J Lo. And I know she would be thrilled. I also know the radio and every top 40 club plays those songs. But I chose MADONNA.. Why? Cause I LIKE MADONNA! And I know SHE knows it. And I know she will still dance. Now I did my job AND made the promoter and myself happy.

part 2 - Majority

This is actually part 1.2 BUT majority rules. HOPEFULLY you don’t have a sword fight on the dancefloor (all dudes) and the door guy is letting in 1 guy for every 2 girls. If that is the case its allllll part 1. But its all about the genre. You wanna make the MORORITY of people there happy. I used to throw on a record I have never played and then sit and COUNT how many people came on the dancefloor (PAUSE) and how many left. I would then gauge my next song based off the genre of that record. I just want the majority of the floor dancing, not leaving or sitting down. You make the place go NUTS and dance and scream, you ask for a raise. There you have it.
Bottom line I am a DJ. I said this before and will say it again. I am no “GREAT DJ” I am just a DJ. A REALLY lucky and blessed one at that. I use Serato to the fullest I can. Does that make me a fake DJ? Not to me. I dug for years, I scratched (sounding like shit) till I had calluses on my fingers. I paid my dues and worked HARD for where I am. No page 6 LIE will ever take that away. So keep talkin, keep hatin and I will keep jumping outta bed at 6am to try a mix I just thought of that will hopefully bring joy to a dancefloor and make my friends go “AWWWWWWWWW SHIT!!!!!” That is my job and I love it.

“Starve the ego - Feed the soul” - DJ AM “

1. SUCCESS OR FAILURE
               If it works,  it is a great ad no matter how many rules are broken or how bad it may look, smell, or  taste.  If it is not working, it is a bad ad no matter how great the production or clever the creators.
2. PRESCRIPTION WITHOUT DIAGNOSIS IS MALPRACTICE  
               You need to have done your homework with a lot of questions before you can fix anything.  It is the only way to focus the message and concentrate on one singular goal of the ad itself.
3. KISS
               Keep it simple stupid.  Just one thought per ad.  One, one… only one.  When you add more thoughts, it starts to dilute quickly. Long menus belong in Russian Restaurants.
4. KISS WITH CONSISTENCY
               Develop a standard look, feel, style that repeats itself in every ad. Do not jump around with different styles, or formats.  It just confuses people.  I use the example of any TV show to illustrate how you can have the same format (like WWF, COPS, Survivor, Millionaire, Soaps, etc) and yet still change things with new episodes.
5. KISS WITH STRENGTH BUT WITHOUT CLICHES
               Whenever you see a cliché in the copy, just change the words. Here is an example… Cliché: “Our friendly staff.”  Changing the words: “Our workers smile a lot.”  Focus on your strengths never the weakness.  The Circus promotes the major event like the Human Cannonball, and does not advertise the high prices on popcorn.
6. THE SOUND OF SILENCE
               Watch your ad with the sound muted. This will test the effect of the ad in a crowded room or with the volume muted. If the video itself does not visually convey the message, cancel the schedule and run the ad on radio instead. TV Video is the most powerful force on the planet,   … make sure the video is selling the message without reliance on sound.
7. HONESTY, TRUST, REPUTATION, FAMILY HISTORY, LOYALTY, LOCALLY OWNED ETC,  FAILS IN  MOST ADVERTISING,  THEY ARE FATAL FLOWERS 
               Local advertisers love them but they most often do not produce results. Service and quality claims must be proven in person.  If locally owned was important, Wal-Marts would be burned by community vigilantes.
8. PRICE AND SELECTION
               Are the dominant motivators for most retail ads. You’ve got to have a price statement, and you’ve got to show lots of goodies to choose from. The average shopper for a major purchase  visits only a few stores today - you better prove you will not waste their time. Price is critical at all income levels. But…you can get away with a general price statement like Everyday Low Prices, or Spring Sale Underway. Just do something that creates a perception that you are not high priced. Even Ethan Allen always has a deal in their yuppie upscale ads.
9. CAR DEALER RULES  – The four fiddlers of retail advertising
               a) Have a consistent spokesperson. b) Stake a claim to some position/brand/niche/forward equity (Truck-King, Used Car Superstore, etc)   c) Always do price and selection d) Hook at end with some offbeat catch phrase like… no neeeeeeed for credit.
10. CO-OP TAGS ARE FOR DOGS
                Don’t do it. If you get a vendor ad that only needs a tag for your store, then you may be headed to the slaughterhouse of failure.  Taking a pure Co-op spot or pure national footage and just adding a tag with your name builds no local identity for your store.   Don’t loose the co-op, just call  the factory and they will usually tell you how to build your own local ad and still get the money.
11. THE SECOND GRADE LEVEL OF ATTENTION THEORY
                Write, produce and air ads that assume a 2nd grade level of attention. Not that the viewers are all idiots, they’re just not always studying the commercial with undivided attention. A  liberal use of graphic words on the screen helps make sure they get the point.  GOT MILK?
12. USE THE “RULE OF TEN” TO RUN THE SAME AD FOR A LONG TIME…
                How Long? Months, years, two decades… as long as it is working, don’t change just because the owner’s wife is bored with it. In fact when someone close to the owner says the ad is boring after it has aired 6 weeks, multiply 6 weeks by 10 (hence the Rule of 10) and it stays on for 60 weeks (You can change minor details, the donut etc., however).
13. CHEESE TO CHEESE, STEAK TO STEAK 
                To reach a cheesy core audience, run cheesy ads.  On the other hand, you need to create a filet  mignon to reach a higher income (steak) audience.
14. THE BUDWEISER EXEMPTION. 
                The big guns can change their ads daily, they can change themes, and they can use ferrets one day and go to “whasssup” the next.   Bud can use horses, family members,  wheat fields or slippery sheets.  In short they have such huge name recognition they are like the 8,000-pound gorilla.  Bud can do anything they want.  Unless the local business has a million bucks to spend in the market, they can’t.