Club Eifel's DJ Blaze performing at the 2009 Air Force Ball.

A disc jockey, also known as DJ, is a person who selects and plays recorded music for an audience. Originally, "disc" (sometimes spelled "disk", although this is now uncommon) referred to phonograph records, not the later Compact Discs. 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, or discothèques, or at parties or raves, or even in stadiums. 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.^[1] Mobile DJs travel with portable sound systems and play recorded music at a variety of events.

Equipment and techniques[link]

Technics 1200 MK2, Technics 1210 MK2 & Pioneer DJM-500 shown in a common DJ configuration

A DJ at Sundance Film Festival 2003

Club 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 (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 subharmonic 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.
• A Midi Controller used to trigger different aspects of DJ Software, such as Serato Scratch Live, Virtual Dj, and Traktor.

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[link]

Parts of this section (those related to The history section of this article needs to be updated, starting with the end of 1999 to the start of 2011.) may no longer be up to date. Please update this section to reflect recent events or newly available information, and remove this template when finished. Please see the talk page for more information. (May 2012)

19th century to 1920s[link]

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.^[2]

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.^[3][4]

We used popular records at that time, mainly Caruso records, because they were very good and loud; we needed a boost... we started on an experimental basis and then, because this is novel, we stayed on schedule continually without leaving the air at any time from that time on except for a very short time during World War I, when the government required us to remove the antenna... Most of our programming was records, I'll admit, but of course we gave out news as we could obtain it...^[3]

—Ray Newby, I've Got a Secret (1965)

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.

1930s–1950s[link]

In 1935, American radio 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.^[5]

Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll.^[6][7] 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.^[5] 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.^[5]

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, and in 1958 became a radio DJ at Radio Luxembourg. 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.

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 (1300 AM) in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.^[8]

Notable US radio disc jockeys of the period include Alan Freed, Wolfman Jack, Kasey Kasem,^[9] and their British counterparts such as the BBC's Brian Matthew, Radio London's John Peel, and later in the 60s, Radio Caroline's Tony Blackburn.^[10]

Freed is commonly referred to as the "father of rock and roll" due to his promotion of the music and his introduction of the phrase "rock and roll" on radio in the early 1950s. Freed also made a practice of presenting music by African-American artists rather than cover versions by white artists on his radio program. Freed's career ended when it was shown that he had accepted payola, a practice that was highly controversial at the time, resulting in his being fired from his job at WABC.^[11]

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 continued to be a problem and one result of 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[link]

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. (This technique had long been used in radio.)

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 an 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,^[12] 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[link]

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[link]

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 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.

Photo gallery[link]

• 

  Club Sevillas's DJ 2CAN performing in a local club in the Inland Empire of California.

• 

  Romina Cohn @ Sobremonte (Mar del Plata, Argentina)

• JasonJollinsPachaBsAs.jpg

  Jason Jollins performing at Pacha, Buenos Aires

• 

  Jeff Mills, live with 3 CD and a Roland TR-909 drum machine, 2007

• 

  Trance DJ Ferry Corsten in Canada

• 

  DJ Hazel

• 

  Dj Markus radio Dj (exDFM)

See also[link]

• Computer DJ
• Digital DJ licensing
• Disc or disk (spelling)
• Live PA
• Mixset
• Record collecting
• Seoul World DJ Festival

Notes[link]

References[link]

• 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.
• Corrado Rizza, Marco Trani, "I love the nightlife"' Wax Production (Roma), 2010
• 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[link]

Wikiquote has a collection of quotations related to: Disc jockey

Wikimedia Commons has media related to: Disc jockey

• DJs at the Open Directory Project

DJ Antoine
MC Roby Rob (left) and DJ Antoine (right).
Background information
Birth name	Antoine Konrad
Born	(1975-06-23) June 23, 1975 (age 37)
Origin	Switzerland
Genres	Electro House, House, Vocal House
Occupations	DJ, record producer
Years active	1998–present
Associated acts	Tom Dice, Mad Mark
Website	http://www.djantoine.com/

Antoine Konrad (born June 23, 1975), better known as DJ Antoine, is a Swiss-Lebanese house and electro DJ and producer, from Beirut, Lebanon. He has had a number of successful single and album releases in Western Europe, in particular Switzerland and France. DJ Antoine's first notable release was the 2000 album Houseworks 01, and he has since released many albums in the last years. One of his releases, Jealousy (released in 2007) was one of his best selling albums.Also, In 2010, he released the summer hits "Welcome To St. Tropez (Feat. Kalenna)" and "Sunlight (Feat. Tom Dice).^{[citation needed]}

With more than 1,5 million sold albums, 34 gold records, 5 platinum awards, 1 double-platin award and owning the record label „Houseworks“, DJ Antoine is the internationally most successful DJ of Switzerland.

His career officially took off in 1995, when he opened his club called House Café in the city of Basel. This club is the benchmark for the progress of the whole scene in Basel and the cult-parties are still in fond memories. After a short tip into the Swiss Hip Hop scene, DJ Antoine had quickly switched genre, getting hooked on the Pumping-House-Wave. In 1998, he released his first album “DJ Antoine – The Pumpin’ House Mix”. 1999 “Houseworks 1” won the first gold award. After that, things started to move very fast. Until this day, DJ Antoine has produced 51 CDs, strongly establishing his music and himself in the music and clubbing scene. Since 2003 he has been hosting his own weekly radio show, which is broadcasted by radio stations all over the world.

In 2006, DJ Antoine achieved his international breakthrough with the album “DJ Antoine – Live in Moscow” and the single “This Time”. Ever since, he has been a highly demanded act in popular and trendy clubs all over the world. Gigs in New York, Chicago, Miami, Montreal, Moscow, Dubai, Bangkok, Oslo, Vienna and Cairo have turned into a regular but exciting part of his everyday life. Acknowledging his international success, All Around The World Records, the electronic music label owned by Universal Music UK, Blanco y Negro Spain, Happy Music France, Emi Music South Africa, Ultra Records USA and Kontor Records Germany signed the single “This Time” in 2009.

The many awards he won in the recent years prove that DJ Antoine is one of the best in this industry. 2001 he won the Ericsson Dance Music Award for the best and most successful artist of the year 2000 in the category „House / UK Garage / Progressive House“. In 2008, DJ Antoine created a stir with his sociocritical album “DJ Antoine –Stop!”, on which he openly spoke out against juvenile violence, calling for more civil courage. In spring 2009, the record was priced with the Swiss Music Award for “Best National Dance Album”. The following year, he defended that title with his CD “DJ Antoine – 2009” and, on top of that, received the Swiss Prix Walo. In 2010 he achieved his biggest success in Switzerland so far: For his album “DJ Antoine – 2010” he was awarded with a platinum record. This platinum record was also nominated for this year Swiss Music Award in the category “Best Album Dance National”.

In the studio DJ Antoine works with his long-term business partner Fabio Antoniali also known as Mad Mark. Well-known musicians such as Mary J. Blige, P. Diddy, Pitbull, Cindy Lauper, Robin S., Roberto Blanco and Ivana Trump have had their tracks exclusively remixed by the two artists. In 2010, DJ Antoine produced songs for Timati, Snoop Dogg, DJ Smash and Bob Sinclar. That same year, the charismatic House-legend Mr. Mike joined the team as a vocalist, also accompanying the DJ to selected performances.

Another highlight of his career is now the first collaboration with Timati and Kalenna Harper (Dirty Money) for the hit single "Welcome to St. Tropez", which was released in Germany and Austria by none other than the dance label Kontor Records.

DJ Antoine keeps setting new trends with his music, attracting worldwide attention to his brand. Labels like Maurice Lacroix, Perrier-Jouët „Belle Epoque“ champagne and the Swiss custom tailor SuitArt all trust in his image. For VIP-Events, DJ Antoine has had the chance to work with nameable partners such as Sony Ericsson, Campari, Moonlight, Edo Popken, Crysler, Dodge, Maybach, Cadillac, Moet Hennessy, J. Lindeberg, Paco Rabanne and the German TV station Pro7.

Alongside his work as a DJ, Antoine Konrad manages his own production and booking companies Global Productions GmbH and Global Bookings. For his VIP-Events, he regularly creates extensive and individual concepts, in tune with the clients and guests needs and wishes. His exclusive event concepts represent lifestyle and luxury and he inspires his customers with his ideas. His team currently consists of ten employees, all based in Switzerland. Antoine has sold over 1,000,000 CDs,^{[citation needed]} and runs his own labels, Houseworks and Egoïste. He has gained popularity all over Europe and also overseas in Canada and the United States.

Discography[link]

External links[link]

• Official site

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2009)

Bob Sinclar
Background information
Birth name	Christophe Le Friant
Also known as	The Mighty Bop, Reminiscence Quartet, Yellow Productions, Chris The French Kiss, Bob From Paris, Desmond K
Born	(1969-05-10) 10 May 1969 (age 43)
Origin	Douarnenez, France
Genres	House, reggae fusion, raggamuffin, electro house, dance, french house, electronic, hip house
Occupations	Producer, DJ
Instruments	Turntables
Years active	1987–present
Labels	Yellow Productions Ministry of Sound Australia
Associated acts	Africanism All Stars
Website	www.bobsinclar.com

Bob Sinclar (born Christophe Le Friant, 10 May 1969), is a French record producer, house music DJ, remixer and the owner of the label Yellow Productions.^[1] He is known for popularising the "French touch" of house music with heavy use of sampled and filtered disco strings. He describes his musical style as inspired by "peace, love, and house-music".^[2]

Several of Sinclar's songs have became international hits, being particularly popular in Europe. Some of his most popular hits include "Love Generation" (with Gary Pine) and "World, Hold On" (with Steve Edwards).

Discography[link]

Singles[link]

as The Mighty Bop

• 1994 "Les Jazz Electroniques EP"
• 1995 "Messe Pour Les Temps"
• 1996 "Ult Violett Sounds EP"
• 1998 "Feelin' Good"
• 2002 "I Go Crazy"
• 2003 "Lady", with Duncan Roy

as Africanism

• 2000 "Bisou Sucré"
• 2000 "Do It", with Eddie Amador
• 2001 "Kazet"
• 2002 "Viel Ou La"
• 2004 "Amour Kéfé"
• 2004 "Kalimbo"
• 2004 "Steel Storm", with Ladysmith Black Mambazo
• 2005 "Summer Moon", with David Guetta
• 2006 "Hard", with The Hard Boys
• 2007 "Meu Carnaval", with Rolando Faria

as Bob Sinclar

most tracks are co-produced by Cutee B

• 1996 "A Space Funk Project"
• 1996 "A Space Funk Project II"
• 1997 "Eu Só Quero um Xodó", with Salomé de Bahia
• 1998 "Gym Tonic", with Thomas Bangalter
• 1998 "My Only Love", with Lee Genesis — #56 UK
• 1998 "Super Funky Brake's Vol. I"
• 1998 "The Ghetto"
• 1998 "Ultimate Funk"
• 2000 "I Feel for You", with Cerrone's Angels — #9 UK, #33 ITA
• 2000 "Darlin'", with James "D. Train" Williams — #46 UK
• 2000 "Greetings from Champs Elysées EP" — #125 UK
• 2001 "Freedom", with Gene Van Buren — #79 UK
• 2001 "Ich Rocke"
• 2001 "Save Our Soul"
• 2002 "The Beat Goes On", with Linda Lee Hopkins — #33 UK
• 2003 "Kiss My Eyes", with Camille Lefort — #67 UK, #22 US Hot Dance Club Play
• 2003 "Prego", with Eddie Amador
• 2003 "Slave Nation"
• 2004 "Sexy Dancer", with Cerrone's Angels
• 2004 "Wonderful World", with Ron Carroll
• 2004 "You Could Be My Lover", with Linda Lee Hopkins
• 2005 "Love Generation", with Gary Pine — #1 US Hot Dance Club Play Singles, #2 NL, #3 FR, #3 ITA, #1 AUS, #1 GER, #12 UK, #8 RU, #1 CZ, #11 US Hot Dance Airplay
• 2006 "Generación del Amor" (Spanish Version) — #1 ESP
• 2006 "World, Hold On (Children of the Sky)", with Steve Edwards — #1 ESP, #1 US Hot Dance Club Play Singles, #2 FR, #4 RU, #5 NL, #8 CZ, #9 UK, #10 US Hot Dance Airplay, #19 AUS, #48 US Pop Airplay
• 2006 "Rock This Party (Everybody Dance Now)", with Dollarman and Big Ali — #2 US Hot Dance Club Play, #3 FR, #3 UK, #11 CZ, #7 AUS
• 2007 "Tennessee", with Farell Lennon — #21 ITA, #27 CZ
• 2007 "Everybody Movin'", with Ron Carroll — #3 GER, #1 ESP
• 2007 "Give a Lil' Love" — #10 ITA, #19 PL, #27 ESP
• 2007 "Sound of Freedom", with Gary Pine and Dollarman — #14 UK, #1 UK Indie, #24 CZ
• 2007 "What I Want", with Fireball #52 UK
• 2007 "Together", with Steve Edwards — #63 PL, #4 ROM
• 2008 "4 Minutes" (Space Funk Remix)
• 2008 "W.W.W. (What a Wonderful World)", with Axwell, The Chicago Superstars & Ron Carroll
• 2008 "New New New", with Cutee B, Dollarman & Big Ali
• 2009 "Lala Song", with Wonder Mike & Master Gee from Sugarhill Gang — #6 ITA
• 2009 "Love You No More", with Shabba Ranks
• 2010 "I Wanna", with Shaggy & Sahara (Costi Ionita and Andrea)
• 2010 "Tik Tok", with Sean Paul
• 2010 "Rainbow of Love", with Ben Onono
• 2011 "The Russian March"
• 2011 "Far l'Amore", with Raffaella Carrà — #6 ITA, #7 BE (Wallonia), #7 ESP, #15 BE (Flanders), #16 CH, #16 NL, #23 AT, #41 FR
• 2011 "Me Not a Gangsta" (feat. Mr Shammi & Colonel Reyel)
• 2011 "F*** With You" (feat. Sophie Ellis-Bextor)
• 2011 "Rock the Boat (feat. Pitbull, Dragonfly & Fatman Scoop)
• 2011 "Wild Thing", with Snoop Dogg

^[3]

Hit singles[link]

Albums[link]

as Bob Sinclar

• 1998 Paradise
• 2000 Champs Elysées
• 2001 Cerrone by Bob Sinclar (Compilation of Cerrone remixes)
• 2003 III
• 2004 Enjoy
• 2005 In The House (Various Artists Mix CD)
• 2006 Western Dream
• 2007 Soundz of Freedom
• 2007 Bob Sinclar: Live at the Playboy Mansion
• 2008 Dancefloor FG Winter 2008 (Mixed by Bob Sinclar)
• 2008 DJ Bob Sinclar 08
• 2009 Born in 69
• 2010 Made in Jamaica
• 2012 Disco Crash

as The Mighty Bop (with Alain Ho)

• 1995 La Vague Sensorielle
• 1995 The Mighty Bop Meets DJ Cam & La Funk Mob, with DJ Cam and La Funk Mob
• 1996 Autres Voix, Autres Blues
• 2000 Spin My Hits
• 2002 The Mighty Bop

as Reminiscence Quartet (with Alain Ho and Sébastien Tellier)

• 1994 Ritmo Brasileiro
• 1995 Psycodelico
• 1999 More Psycodelico

as Yellow Productions (with Alain Ho and Cutee B.)

• 1994 A Finest Fusion Of Black Tempo

as Africanism (see all members on discogs.com)

• 2001 Africanism Allstars Vol. I, as Africanism
• 2004 Africanism Allstars Vol. II, as Africanism
• 2005 Africanism Allstars Vol. III, as Africanism
• 2006 Africanism Allstars Vol. IV, as Africanism

See also[link]

• List of number-one dance hits (United States)
• List of artists who reached number one on the US Dance chart

References[link]

External links[link]

Main sites

• Bob Sinclar — official site
• Bob Sinclar — Twitter official site
• Bob Sinclar — MySpace official site
• Bob Sinclar discography at Discogs

Interviews and features

• Interview with Bob Sinclar
• Bob Sinclar on The Mag