A disc jockey, also known as DJ, is a person who selects and plays recorded music for an audience. Originally, disk referred to phonograph records, while disc referred to the Compact Disc, and has become the more common spelling. Today, the term includes all forms of music playback, no matter the medium.

There are several types of disc jockeys. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, discothèques, at raves, or even in a stadium. Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. In reggae, the DJ (deejay) is a vocalist who raps, "toasts", or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector. Mobile DJs travel with portable sound systems and play recorded music at a variety of events.

Equipment and techniques

DJ equipment may consist of:

Sound recordings in a DJ's preferred medium (for example, vinyl records, Compact Discs, computer media files, etc.);

A combination of two devices (or only one, if playback is digital) to play sound recordings, for alternating back and forth to create a continuous playback of music (for example, record players, Compact Disc players, computer media players such as an MP3 player, etc.);

A multiple Sequencer which can mix MIDI tracks with Digital Audio;

A sound system for amplification or broadcasting of the recordings (for example, portable audio system, PA system) or a radio broadcasting system;

A DJ mixer, which is an electronic (usually 2- or 4-channel) audio mixer usually equipped with a crossfader used to smoothly go from one song to another, using two or more playback devices;

Headphones, used to listen to one recording while the other recording is being played to the audience, or to listen to both recordings simultaneously; and

Optionally, a microphone, so that the DJ can introduce songs and speak to the audiences.

Other equipment could or can be added to the basic DJ setup (above), providing unique sound manipulations. Such devices include, but are not limited to:

Electronic effects units (delay, reverb, octave, equalizer, chorus, etc.). Some club DJs use a sub-harmonic synthesizer effect which either doubles low frequencies with energy added an octave lower or synthesizes harmonics such that the impression of a very low bass sound is added to the mix.

A computerised performance system, which can be used with vinyl emulation software to manipulate digital files on the computer in real time.

Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.

Special DJ digital controller hardware can manipulate digital files on a PC or laptop;

Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.

Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization, and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques.

Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing to preserve energy on a dancefloor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.

History

19th century to 1920s

In 1857, Leon Scott invented the phonoautograph in France, the first device to record sound but with no method of playback. In 1877, Charles Cros invented a phonograph in France that was patented before Thomas Alva Edison's invention but never built. Edison invented the phonograph cylinder, the first device to play back recorded sound, in the United States. In 1892, Emile Berliner began commercial production of his gramophone records, the first disc records to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, that of a contralto singing Handel's ''Largo'' from ''Xerxes''.

The world's first radio disc jockey was Ray Newby, of Stockton, California. In 1909, at 16 years of age, Newby began regularly playing records on a small spark transmitter while a student at Herrold College of Engineering and Wireless, located in San Jose, California, under the authority of radio pioneer Charles "Doc" Herrold. Though it was really called Disco Jockey, it has been changed through the years to Disc Jockey but it can be referred as DISCO or DISC Jockey.

By 1910, regular radio broadcasting had started to use "live" as well as prerecorded sound. In the early radio age, content typically included comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s, juke joints became popular as places for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station. In 1929, Thomas Edison ceased phonograph cylinder manufacture, ending the disc and cylinder rivalry.

1930s–1950s

In 1935, American commentator Walter Winchell coined the term "disc jockey" (the combination of ''disc'', referring to the disc records, and ''jockey'', which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called ''Make Believe Ballroom'', was an instant hit. The term "disc jockey" appeared in print in ''Variety'' in 1941.

Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll. The Federal Communications Commission also clearly favored live music, providing accelerated license approval to stations promising not to use any recordings for their first three years on the air. Many noted recording artists tried to keep their recorded works off the air by having their records labeled as not being legal for airplay. It took a Federal court ruling in 1940 to establish that a recording artist had no legal right to control the use of a record after it was sold.

In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherds in Otley, England. In 1947, he claims to have become the first DJ to use twin turntables for continuous play. Also in 1947, the Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first commercial discothèque, or disco (deriving its name from the French word meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Regine began playing on twin turntables there in 1953. Discos began appearing across Europe and the United States. From the late 1940s to early 1950s, the introduction of television eroded the popularity of radio's early format, causing it to take on the general form it has today, with a strong focus on music, news, and sports.

The postwar period coincided with the rise of the radio disc jockey as a celebrity separate from the radio station, also known as a "radio personality". In the days before station-controlled playlists, the DJ often followed their personal tastes in music selection. DJs also played a role in exposing rock and roll artists to large, national audiences. While at WERE in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.

In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records, featuring hit singles on one turntable while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. In 1955, Bob Casey, a well-known "sock hop" DJ, brought the two-turntable system to the U.S. Throughout the 1950s, payola payments by record companies to DJs in return for airplay were an ongoing problem. Part of the fallout from the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly.

In the late 1950s, sound systems, a new form of public entertainment, were developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector," who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting". These parties quickly became profitable for the promoters, who would sell admission, food, and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

1960s and 1970s

In the mid-1960s, nightclubs and discothèques continued to grow in Europe and the United States. Specialized DJ equipment, such as Rudy Bozak's classic CMA-10-2DL mixer, began to appear on the market. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between records with ''matching'' ''beats'', or tempos. Grasso also developed slip-cuing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record.

By 1968, the number of dance clubs started to decline; most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that were modelled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City.

In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or ''break''. Turntablism, the art of using turntables not only to play music but to manipulate sound and create original music, began to develop.

In 1974, Technics released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979—which, as of the early-2010s, remains the industry standard for DJing. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn," which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip-hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid-1970s, Hip-hop music and culture began to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of Hip Hop culture are graffiti, DJing, breakdancing, and MCing (rapping).

In the mid-1970s, the soul-funk blend of dance pop known as disco took off in the mainstream pop charts in the United States and Europe, causing discothèques to experience a rebirth. Unlike many late-1960s clubs, which featured live bands, discothèques used the DJ's selection and mixing of records as the entertainment. In 1975, record pools began, providing disc jockeys access to newer music from the industry in an efficient method.

In 1975, hip-hop DJ Grand Wizard Theodore invented the scratching technique by accident. In 1976, American DJ, editor, and producer Walter Gibbons remixed "Ten Percent" by Double Exposure, one of the earliest commercially released 12″ singles (aka "maxi-single"). In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip-hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song.

In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later renamed Disco Beats), which published hit disco songs listed by beats per minute (tempo), as well as by either artist or song title. Billboard ran an article on the new publication, and it went national relatively quickly. The list made it easier for beginning DJs to learn how to create seamless transitions between songs without dancers having to change their rhythm on the dance floor. Today, DJs can find the beats per minute of songs in the BPM List.

1980s

In 1981, the cable television network MTV was launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh-faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forced many nightclubs to either close or change entertainment styles, such as by providing MTV-style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika Bambaataa was the first hip-hop song to feature synthesizers. The song melded electro hip-hop beats influenced by Yellow Magic Orchestra with the melody from Kraftwerk's "Trans-Europe Express." In 1982, the Compact Disc reached the public market in Asia, and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution.

In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes, gained a cult following, and the Paradise Garage, the nightclub at which he spun, became the prototype for the modern dance club where the music and the DJ were showcased. Around the same time, the disco-influenced electronic style of dance music called house music emerged in Chicago. The name was derived from the Warehouse Club in Chicago, where resident DJ Frankie Knuckles mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983, Jesse Saunders released what some consider the first house music track, "On & On." The mid-1980s also saw the emergence of New York Garage, a house music hybrid that was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the Chicago house sound.

During the mid-1980s, techno music emerged from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno artists combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference started in Fort Lauderdale Florida and became the premier electronic music conference for dance music disc jockeys.

In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It was the first national DJ-published music magazine, created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986, "Walk This Way", a rap/rock collaboration by Run DMC and Aerosmith, became the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of hip-hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences. In 1988, ''DJ Times'' magazine was first published. It was the first US-based magazine specifically geared toward the professional mobile and club DJ.

Starting in the mid-1980s, the wedding and banquet business changed dramatically with the introduction of DJ music, replacing the bands that had been the norm. Bandleaders, like Jerry Perell and others, started DJ companies, such as NY Rhythm DJ Entertainers. Using their knowledge of audience participation, MC charisma, and "crowd-pleasing" repertory selection, the wedding music industry became almost all DJ while combining the class and elegance of the traditional band presentation. New DJs as well as bandleaders with years of experience and professionalism transformed the entire industry.

1990s

During the early 1990s, the rave scene built on the acid house scene. The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities. During the early 1990s, the Compact Disc surpassed the gramophone record in popularity, but gramophone records continued to be made (although in very limited quantities) into the 21st century—particularly for club DJs and for local acts recording on small regional labels. During the mid-1990s, trance music, having run rampant in the German underground for several years, emerged as a major force in dance music throughout Europe and the UK. It became one of the world's most dominant forms of dance music by the end of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards commercialized song structure.

In 1991, ''Mobile Beat'' magazine, geared specifically toward mobile DJs, began publishing. In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1 standard, designed to produce reasonable sound at low bit rates. The lossy compression scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music domain. In 1993, the first internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the audio was relayed over the internet, it was possible to access internet radio stations from anywhere in the world. This made it a popular service for both amateur and professional disc jockeys operating from a personal computer.

In 1995, the first full-time, internet-only radio station, Radio HK, began broadcasting the music of independent bands. In 1996, Mobile Beat had its first national mobile DJ convention in Las Vegas. During the late 1990s, nu metal bands, such as Korn, Limp Bizkit, and Linkin Park, reached the height of their popularity. This new subgenre of alternative rock bore some influence from hip-hop because rhythmic innovation and syncopation are primary, often featuring DJs as band members. As well, during the late 1990s, various DJ and VJ software programs were developed, allowing personal computer users to DJ or VJ using his or her personal music or video files.

In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final Scratch debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of MP3 files through special time-coded vinyl records or CDs. While it would take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would soon become the first step in the new Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam (aka William P. Rader), who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology.

In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announced an MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to perform publicly using music stored on a hard drive, instead of having to cart their whole CD collections around to their gigs.

See also

Computer DJ

Digital DJ licensing

Disc or disk (spelling)

Live PA

Mixset

Record collecting

Seoul World DJ Festival

Notes

References

Assef, Claudia (2000). ''Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil''. São Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.

Brewster, Bill, and Frank Broughton (2000). ''Last Night a DJ Saved My Life: The History of the Disc Jockey''. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-6 (UK edition).

Broughton, Frank, and Bill Brewster. ''How to DJ Right: The Art and Science of Playing Records''. New York: Grove Press, 2003.

Graudins, Charles A. ''How to Be a DJ''. Boston: Course Technology PTR, 2004.

Lawrence, Tim (2004). ''Love Saves the Day: A History of American Dance Music Culture, 1970–1979 ''. Duke University Press. ISBN 0-8223-3198-5.

Miller, Paul D. aka DJ Spooky, ''Sound Unbound: Writings on DJ Culture and Electronic Music'', MIT Press 2008. ISBN 0-262-63363-9 ISBN 978-0-262-63363-5.

Poschardt, Ulf (1998). ''DJ Culture''. London: Quartet Books. ISBN 0-7043-8098-6.

Zemon, Stacy. ''The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service'', Second Edition. St. Louis: Focal Press, 2002.

External links

Category:Broadcasting occupations Category:Media occupations Category:Occupations in music Category:Disco

ar:دي جي az:Disk jokey bs:Disc jockey bg:Диджей ca:Discjòquei cs:DJ da:Dj de:DJ es:Disc jockey eo:Diskĵokeo eu:DJ fa:دی‌جی fo:DJ fr:Disc jockey ko:디스크 자키 hr:Disc Jockey id:Disjoki is:Plötusnúður it:Disc jockey he:DJ ka:დისკ-ჟოკეი kk:Ди-джей la:Discimpositor lv:Diskžokejs lt:Diskžokėjus hu:Lemezlovas mk:Диџеј ms:DJ nl:Diskjockey ja:ディスクジョッキー no:Disc jockey nn:DJ mhr:Диджей pl:DJ pt:DJ ro:Disc jockey ru:Диджей simple:Disc jockey sk:Diskotekár sl:Didžej sr:Диск џокеј fi:DJ sv:DJ th:ดีเจ tr:DJ uk:Ді-джей vi:DJ yi:דידזשיי zh:DJ

Coordinates	56°09′″N40°25′″N
name	Roger Sanchez
background	non_performing_personnel
birth name	Roger Rene Sanchez
alias	Roger S., S-Man, The S Man
born	June 01, 1967Queens, New York, U.S.A.
genre	House, Tribal House
occupation	DJ, Producer, Remixer
years active	1994–present
label	Stealth Records, Ministry of Sound
website	RogerSanchez.com
notable instruments	}}

Roger Sanchez, also known as Roger S. and The S Man, (born on June 1, 1967, in Queens, New York) is a Grammy award-winning American House music DJ who has scored many hits in the European and World Charts. On October 28, 2009, DJ Magazine announced the results of their annual Top 100 DJ Poll, with Ultra Records Sanchez placed at #60.

Biography

Born to Dominican Parents in Queens, New York in 1969, Roger spent his younger years soaking up the musical influences that were the lifeblood of his home town. It was the diversity of these influences, from salsa, blues and soul to disco, rock and hip-hop, that solidified Roger’s dedication to representing this spectrum of musical styles. Thus, Roger’s sound is impossible to pigeon hole, refusing to fit the template of any one genre: “I have always listened to a wide range of music, taking different influences from hundreds of styles. The diversity of the sounds I hear influence different lines of thought when I’m in the studio creating something new.”

After leaving college to follow his music-filled heart, Roger’s passion for DJing conquered his hometown, and the last days of the 1980s saw Roger spinning beats in the Big Apple’s most notorious clubs. 1990 saw the S-Man catapulted into international limelight with his first hit Luv Dancin, released on the eminent Strictly Rhythm label under the first of many monikers Underground Solution.

Roger’s creative evolution through the rest of the decade yielded a string of hits, and whilst working under his Transatlantic Soul alias, Roger conceived the enduring legend Release Yourself. Born in 1996 through club smash single Release Yo Self, the brand has grown into a worldwide phenomenon that embodies Roger’s deep belief in the liberty music can bring. Now an exclusive clubbing concept, a CD mix series, an IDMA winning podcast radio show that touches millions, and an annual residency that still dominates the scene in its 10th season in Ibiza, Release Yourself continues to gather momentum as one of the most recognized and seminal brands on the global scene today.

Roger has remixed superstars such as Chic, Daft Punk, Diana Ross and The Police, contributed to the soundtrack of Hollywood movie Blade, and founded 3 record labels before his beloved Stealth. Since forming his opus label Stealth Records in 2002, the recognition has continued to roll in. Even through the glare of his massive commercial success, the expanse of Roger’s fame has neither diluted his outlook nor marred his creativity, and he remains a true champion of new music with one ear always pressed firmly to the underground. In one week alone Roger scored a trio of tracks in the top 25 Billboard Charts, but even after winning a Grammy in 2004 and establishing a global fan base of millions, the S-man remains grounded, making it clear that “Really, as always, I just do what I do and am grateful to be able to follow my heart.”

Whether overwhelming a frenzied crowd at Miami WMC or pushing musical boundaries on the White Isle, Roger’s love of connecting with a crowd ensures that he keeps his status as a true citizen of the World amidst a continuous whirlwind of global touring. At every gig, the S-Man’s relationship with his international network of fans is evident in the mutual energy and appreciation between Roger and the crowd:

“One thing that’s very important to me is to take into account what the people on the dance floor are feeling - to reach out and connect to their emotions allows me to share what’s in my mind with them. I always have a strong connection with my fans and their dedication and love has allowed me to thrive”

From his legendary performances at the world’s most exclusive events, his chart-topping hits, award winning radio show and acclaimed compilation series Release Yourself, Roger is still soaring at the top of his game, spanning 3 decades on a meteoric journey from underground cult figure to master of the global club stage.

Other ventures

Sanchez is the owner of his own label, Stealth Records. The label features releases by some of the biggest names in house music such as Steve Angello, Laidback Luke, Avicii, and Sanchez himself.

Sanchez also hosts a terrestrial and online radio show called "Release Yourself," with 15,000,000 listeners worldwide. In 2006 a podcast was created as a spin-off from the radio show under the same moniker and went on to win the first ever Podcast Award at the International Dance Music Awards (IDMA). He has also released a series of compilation albums based called Release Yourself which are known for being very upfront musically. 2011 marks the 11th release in the hugely successful "Release Yourself" series.

Awards

In 2003, Sanchez won his first Grammy Award for Best Remixed Recording for his remix of No Doubt's "Hella Good". In the DJ Magazine list of 2007, Sanchez placed 25th.

Discography

Albums and DJ compilations

Mix MAG Live! vol. 16: Americana (by Roger S. & DJ Pierre)(1994)

Roger S. Presents (1995)

Roger S. Mega Mix (1995)

Hard Times—The Album (1995)

Secret Weapons Volume 1 (1995)

House Music Movement (1998)

United DJs of America, Vol. 8: New York City (DJs compilation) (1998)

S-Man Classics: The Essential Sanchez Mixes (1998)

Maximum House & Garage (1999)

Ministry of Sound, Vol. 11(DJs Compilation) (2000)

First Contact (2001)

Release Yourself (2002)

Release Yourself vol. 2 (2003)

Release Yourself vol. 3 (2004)

Release Yourself vol. 4 (2005)

Release Yourself vol. 5 (2006)

Come With Me (2006)

Release Yourself vol. 6 (2007)

Choice: A Collection Of Classics (2007)

Release Yourself vol. 7 (2008)

Release Yourself vol. 8 (2009)

Release Yourself vol. 9 (2010)

Release Yourself vol. 10 (2010)

Singles

"Illegal" EP (1994)

"Strictly 4 The Underground" (1995)

"Release Yo Self" (1996)

"Deep" (1997)

"Funky And Fresh" (1998) (feat. Gerald Elms Present The International Posse)

"I Want Your Love" (US edition) (1998)

"1999" (1999)

"I Want Your Love (remixes)" (1999 by Roger S. Present Twillight)

"I Never Knew" (2000 #24 in UK)

"Another Chance" (2001 #1 UK; #6 Netherlands; #8 Norway; #10 Denmark)

"You Can't Change Me" (2001 #25 in UK) (feat. Armand van Helden & N'Dea Davenport)

"Nothing 2 Prove" (2002) (feat. Sharleen Spiteri)

"Turn On The Music" (2005)

"Lost" (2006)

"Not Enough" (2007)

"Again" (2007)

"Bang That Box!" (2008) (feat. Terri B!)

"2gether" (feat. Far East Movement (2011) )

Selected Remixes

Michael Jackson - "Don't Stop 'Til You Get Enough" (1992)

Michael Jackson - "Jam"

Tom Tom Club - ''Sunshine & Ecstasy'' (1992)

Kenny "Dope" González Presents Axxis - ''All I'm Askin''' (1992)

M People - ''Renaissance'' (1994)

Janet Jackson and Luther Vandross - ''The Best Things in Life Are Free'' (1995)

Definition of Sound - ''Pass the Vibes'' (1995)

Janet Jackson - ''Love Will Never Do (Without You)'' (1996)

Jamiroquai - ''High Times'' (1997)

Michael Jackson - ''Dangerous'' (1997)

Jamiroquai - ''Deeper Underground'' (1998)

Daft Punk - ''Revolution 909'' (1998)

Lenny Kravitz - ''Black Velveteen'' (1999)

Garbage - ''Cherry Lips'' (2001)

Alicia Keys - ''Butterflyz'' (2002)

Anastacia - ''Paid My Dues'' (2002)

Kylie Minogue - ''In Your Eyes'' (2002)

No Doubt - ''Hella Good'' (2002)

Madonna - ''Get Together'' (2006)

Robyn - ''Be Mine!'' (2007)

Depeche Mode - ''Perfect'' (2009)

Far East Movement - "Like a G6" (2010)

Sérgio Mendes - ''Pais Tropical'' (2010)

OneRepublic - ''Secrets'' (2010)

Maroon5 - ''Give A Little More'' (2010)

Brandon Flowers - ''Only The Young'' (2010)

Miguel Bose - ''Cardio'' (2010)

Robbie Williams - ''Last Days of Disco'' (2010)

References

External links

Official Website

Roger Sanchez on the Internet Movie Database

Roger Sanchez on Beatbuggy

Category:American dance musicians Category:American house musicians Category:American people of Dominican Republic descent Category:Dominican Republic people Category:Club DJs Category:1967 births Category:Living people Category:Grammy Award winners Category:People from Queens Category:Remixers Category:Hispanic and Latino American entertainers

bg:Роджър Санчес da:Roger Sanchez de:Roger Sanchez es:Roger Sanchez fr:Roger Sanchez it:Roger Sanchez nl:Roger Sanchez pl:Roger Sanchez pt:Roger Sanchez th:โรเจอร์ แซนเชซ tr:Roger Sanchez

Coordinates	56°09′″N40°25′″N
name	Armin Van Buuren
background	non_vocal_instrumentalist
birth name	Armin van Buuren
alias	Amsterdance, Armania, Darkstar, Emc2, El Guitaro, Elect of DJ-RA, Gaia, Gig, Gimmick, Hyperdrive Inc., Misteri A, Perpetuous Dreamer, Problem Boy, Rising Star, The Shoeshine Factory
born	December 25, 1976Leiden, South Holland, Netherlands
origin	Koudekerk aan den Rijn, South Holland, Netherlands
instrument	Synthesizer, drum machine, equalizer, personal computer
genre	Trance, Progressive Trance, Vocal Trance, Uplifting Trance, Electro House, House Music
occupation	Remixer, Producer & DJ Composer
years active	1995–present
label	Armada Music (2003–present)
associated acts	Alibi, Dark Matter, Electrix, Lilmotion, Major League, Monsieur Basculant, Red & White, Technology, Triple A, Wodka Wasters
website	arminvanbuuren.com }}

Armin van Buuren (), (born in Leiden, Netherlands on 25 December 1976) is a Dutch trance producer and DJ. In 2007, 2008, 2009 and 2010 he was voted number one in DJ Magazine's annual top 100 list of the most popular DJs. Since 2001 van Buuren has hosted a weekly radio show called ''A State of Trance'' and claims to have over 30 million weekly listeners in more than 40 countries, which would make it the most listened radio show in the world. His 2008 studio album, ''Imagine'', entered the Dutch album chart at #1, a first for a dance artist in Dutch music history.

Armin van Buuren has always had his own studio and worked alone in the beginning of his career. Since the release of his third studio album ''Imagine'' from 2008 he has been working with Benno de Goeij and DJ-RA of Rank 1 on all solo productions and remixes. He is well known for his annual "Year Mix" which incorporates clips and custom mashups from the year's most popular trance tracks. Each year-mix consists of about 85 individual releases, edited into a 2 hour mix which is released on double CD as well as aired on his weekly radio show at the end of each year. According to van Buuren, each year-mix takes several months to make, including thousands of digital audio edits and hundreds of audio plugins.

Personal life

Armin Van Buuren was born in Leiden, the Netherlands on 25 December 1976, but grew up in Koudekerk aan den Rijn. He finished high school at the Stedelijk Gymnasium Leiden in 1995, and left for college to study law at Leiden University. While studying law, van Buuren's interest for making music blossomed, and he began working as a DJ in a local club called Nexus. As his musical career began to take off, he put his law degree on hold, although he did return to finish law school in 2003. Armin Van Buuren started making music when he was 14 and he often listened to music using the headphones that his father had given to him. He was inspired by French electronic music composer, Jean Michel Jarre, and wished to become a great electronic music composer like Jarre; finally meeting Jarre when van Buuren was the number 1 DJ of the world, along with DJ-RA (2009), in Amsterdam after Jarre's concert.

On 18 September 2009 Armin married Erika van Thiel in Wassenaar, Netherlands. They met during a vacation on Crete, and had been together for 9 years prior to the marriage.

On 12 January 2011, Armin announced the pregnancy of his wife Erika on Twitter. He hoped the baby, due this summer, will be his "best production ever." Their daughter, Fenna, was born on 24 July 2011.

Career

1995–1999: Early career and success

Since 1995, van Buuren has released many tracks on different labels with increasing success. His first big success was "Blue Fear" which was on Cyber Records at the age of 19. This 'Euro Trance blueprint' made it into the UK Chart. "Communication" was released on the same label, and had a huge impact on Ibiza, Spain in the summer of 1999. After being signed to AM PM Records, this track entered the UK Chart at #18 in 2000.

Van Buuren began his DJ career at club Nexus in Leiden, where he learned to play long DJ sets, which were regularly six to seven hours per set. During school holidays he played more than four times a week. In 1999, he met Dave Lewis who introduced him as a DJ in England and the United States. His career accelerated, entering the DJ magazine Top-100 in November 2001 at Number 27. He has played in more than 25 different countries and can often be found on the main stage at big summer festivals. Van Buuren played a record-breaking twelve and a half hour set for Dancetheater in The Hague (the Netherlands). In the United Kingdom he performs regularly at Passion (resident 2002), Godskitchen, Gatecrasher, Slinky, Ministry of Sound, Peach and Golden.

In the beginning of 1999, van Buuren started his label Armind together with United Recordings. The first release, Gig – "One," was well received. The second release "Touch Me," under the name Rising Star was signed to Ministry of Sound in the UK, before the record was released.

By the time of his third release, Gimmick – "Free" was signed to R&S; Records, van Buuren had managed to make his label popular very quickly. Under the surname Gaia he released "4 Elements" on Captivating Sounds, a sub-label of Warner Brothers. Teaming up with Tiësto, two new projects were born: Major League – "Wonder Where You Are?" was released on Black Hole Recordings and Alibi – "Eternity" was released on Armind. "Eternity" received club and chart success and was signed to Paul van Dyk's imprint Vandit Records. Another major collaboration followed this. Together with Ferry Corsten, van Buuren recorded a riff-classic titled "Exhale" for the System F. album. Released as a single, this track reached gold status in less than a month.

2000–2004: ''A State of Trance'' and ''76''

In 2000, van Buuren started his own Armin van Buuren compilation series. He managed to find a balance between progressive house,and vocal trance music styles. His first compilation album, ''A State of Trance'' (not to be confused with his weekly A State of Trance radio shows), sold more than 10,000 copies and contains van Buuren's well known remix of Moogwai, "Viola." His second album, ''Basic Instinct'' featured a new track: "Perpetuous Dreamer" – "The Sound of Goodbye." This track entered the Dutch charts in June 2001 at number 26. Later in the year, the track hit #1 on the Hot Dance Music/Club Play chart. The third album, ''In Motion'' was released 6 August 2001. This album contained the real trance sound and was very popular in the United States. A fourth album, ''Transparence'', followed in 2002. In 2003, he worked with such artists such as DJ Seth Alan Fannin throughout a global tour on Dance Revolution in Europe, selling out to crowds of 20,000 people in Armin's home country of the Netherlands.

In March 2001, van Buuren started his own radio show on ID&T; Radio (traditionally broadcast in Dutch and later English since ASOT 183). In this weekly two-hour show, entitled ''A State of Trance'', he plays the latest popular trance music tracks. His show and the artists he features are popularized by publishing the artists and track titles on his website. This radio-show/website combination has proven popular internationally. When ID&T; Radio changed genres in 2004, van Buuren left and took ''A State of Trance'' with him. The show then moved to Fresh FM, a Dutch radio station. It is now a weekly feature on SLAM!FM, another Dutch radio station, DI.FM, an online radio station, and on XM Satellite Radio, channel 80 in the United States and Canada. A complete list of stations that broadcast ''A State of Trance'' can be found at the ASOT section of Armin's website. Also in 2004, van Buuren remixed the 24 theme song into a trance hit. In June 2005, the 200th episode was celebrated in Amsterdam and subsequently aired on radio. The 250th (8 hour) anniversary episode was celebrated in Club Asta in The Hague, Netherlands, featuring van Buuren, Jonas Steur, M.I.K.E., John Askew, Rank 1 and Menno de Jong.

In 2002, he had a residency at Glow in Washington D.C., and he has played in San Francisco, Houston, Boston, Charlotte, Chicago, Atlanta, Austin, Denver, New York City, Los Angeles, St. Louis, Minneapolis, and Seattle. He has also regularly appeared at Amnesia on the island of Ibiza, Balearic Islands, Spain. In October that year, van Buuren was voted Number 5 in the DJ Magazine 100 top DJ's. The following year, he jumped up to the #3 spot, and held 3rd place for the next 3 years. His work left him at the #2 spot, just below Paul van Dyk in the 2006 polls, and, in 2007, Armin reached #1, heading the 2007 DJ Mag Top 100. He was voted #1 again in 2008, 2009 and again in 2010.

In June 2003 van Buuren released his debut studio album, ''76'', named after his year of birth, 1976.

2005–present: ''Shivers'', ''Imagine'' and ''Mirage''

On 8 August 2005 van Buuren released his second studio album, ''Shivers''. On the album van Buuren worked with artists such as Pakistani American singer Nadia Ali, English singer Justine Suissa and American trance duo Gabriel & Dresden.

On 11 November 2006, he had a live performance called Armin Only in Ahoy Rotterdam for the second time (after 12 November 2005) with a 9 hour solo set, where he performed to over 11,000 fans.

In the summer of 2007, van Buuren recorded and released a live set at Amnesia, Ibiza. ''Universal Religion Chapter 3, Live from Amnesia at Ibiza'' was released on 28 September 2007 as a mix compilation on Armada Records and in the US as "Universal Religion 2008" on Ultra Records on 4 December 2007.

On 17 April 2008 van Buuren released his third studio album, ''Imagine''. It features collaboration with singers such as Sharon den Adel of Within Temptation and Jacqueline Govaert of Krezip. The album debuted at number one on the Dutch Albums Chart.

19 April 2008 saw the 3rd edition of Armin Only, this time in the Jaarbeurs in Utrecht, Netherlands. The event was attended by 16,000 fans and (partly) broadcast live on Dutch National TV. During the second half of 2008, van Buuren took this show abroad, with visits to Australia, Romania, Poland, Belgium, and a special New Years Eve 2008 show at Together As One in Los Angeles, U.S.

On 29 September 2008, Armin won the DJ Award for "Best Trance DJ" at Ibiza along with other nominees, that of Tiësto, Ferry Corsten and Paul van Dyk.

On 12 January 2008, van Buuren was given the "Buma Cultuur Pop Award," the most prestigious Dutch music award.

In 2009, Foreign Media Games announced the production of ''In The Mix: Featuring Armin van Buuren'', a music game being produced in collaboration with Cloud 9 Music and van Buuren's Armada Music label. The title is scheduled to be released sometime in 2010 exclusively for the Wii console.

He has collaborated with his brother, guitarist Eller van Buuren, in such venues as ''Together As One'' in Los Angeles, U.S., on New Year's Eve 2009, as well as on Armin's 2008 album ''Imagine''.

On 3 March 2010 van Buuren was awarded with the prestigious Golden Harp, for his musical work and contribution to Dutch music, by the music collecting society BUMA/STEMRA at the 2010 Buma Harpen Gala in Hilversum, the Netherlands.

On 23 June 2010 it was announced that Armin Van Buuren's fourth studio album, ''Mirage'' was due to be released on 10 September. The first single "Full Focus", was released through iTunes Store on 24 June at midnight. The song peaked at number sixty in the Netherlands. One of the confirmed tracks from the album is a collaboration with English singer Sophie Ellis-Bextor called ''Not Giving Up On Love'', which was released as a single from Bextor's fourth studio album, ''Make a Scene''. Armin also wrote a song for English singer Seal, but due to the release of his greatest hits album, ''Hits'', the collaboration never came together.

September 12, 2010, Armin van Buuren launched "A State of Sundays", a new weekly 24-hour radio show aired on Sirius XM Radio.

October 20, 2010, Armin van Buuren won the award for Most Popular International DJ presented by The Golden Gnomes.

On October 27, 2010, Armin van Buuren was announced, for the 4th year running, as the number 1 DJ, and thus prolonging his title as 'Most Popular DJ in the World'.

The 2010 edition of ''Armin Only: Mirage'' kicked off on November 13, 2010, in Utrecht, Netherlands, with more shows coming in Kiev, Buenos Aires, Melbourne, Beirut, Poznań, Moscow and Bratislava .

On November 27, 2010, Armin Van Buuren made his third appearance in Shanghai, China. On his yearly Asia Tour, he always stops by at M2 for an unforgettable night with his Chinese fans.

A State of Trance 500 (ASOT 500)

To mark the 10 year anniversary and 500^th episode of his weekly radio show ''A State of Trance'', Armin performed at five shows across five continents over five consecutive weeks along with various artists. The first show was held on 19 March 2011 in Johannesburg, South Africa at the MTN Expo Center. In addition to Armin - Blake Jarrell, Protoculture, Lange, Leon Bolier, and Jorn van Deynhoven were performers. Super8 and TAB were to be part of the South African show, however a flight cancellation caused them to be absent for the event. The event was attended by over 20,000 people. Miami's show was performed at the Ultra Music Festival on 27 March, and part of the show were Marcus Schossow, Alex M.O.R.P.H., Cosmic Gate, Gareth Emery, Ferry Corsten, ATB, and Sander van Doorn. Argentina held the third celebration of ASOT 500 in club G.E.B.A Buenos Aires, where Heatbeat (Argentina's Trance music icons at the time), Jochen Miller, Dash Berlin, Marcus Schultz, AVB, John O'Callaghan and W & W. It was the only of the 5 ASOT 500 celebrations that was held roofless, where AVB recorded a live video with his cell phone and uploaded it to Twitter while playing his live set, showing Argentinean's passion for Trance. Den Bosch in The Netherlands followed with the biggest event of 2011. Accompanied by more than 30 DJ's from countries all over the world, Armin brought together over 30,000 people in one long night's worth of trance music. DJ friends present were Markus Schulz, Gareth Emery, Above & Beyond, Paul Oakenfold and Sean Tyas. The event was radio broadcasted live from Den Bosch by Armin himself to over 30 countries as well as many of the DJ's using their sets as their live weekly or monthly podcast. The final show was held in Sydney, Australia marking the 5th show of the ASOT 500 tour. It was held on 16 April at Acer Arena in Olympic Park and was a sold out event weeks before the night. Shogun, Australia's own tyDi, Menno de Jong, Aly & Fila, Alex M.O.R.P.H. and of course Armin Van Buuren were the lineup where Armin played for a 3 hour set in celebration of this epic 5 week tour.

Discography

''76'' (2003)

''Shivers'' (2005)

''Imagine'' (2008)

''Mirage'' (2010)

References

External links

Armin van Buuren's profile on Trancepedia

Armada Music – the record label of Armin van Buuren

Armin van Buuren - A State of Trance episodes

Category:1976 births Category:Living people Category:Ableton Live users Category:Armada Music artists Category:Club DJs Category:Dutch DJs Category:Dutch electronic musicians Category:Dutch record producers Category:Dutch trance musicians Category:Eurodance musicians Category:People from Leiden Category:People from Rijnwoude Category:Remixers

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