I'm DJ Frontier, and it is now 2010. I've been DJ'ing as DJ Frontier for 17 years. I own DJFrontier.Com and the rights to the name DJ Frontier. I used to be known as DJ Wiz Kid, but I grew up and changed my DJ name in 1993, and in total I've been a DJ for 20 years. This is my continuing adventure as I prepare for a new era as a pioneer DJ. I'm different. I'm not like the other DJ's of the world, as you shall soon see. I'm educated, experienced, and creative. I'm a trained performer with a music background. I have some different ideas on DJ'ing and the future of the business, and I am looking forward to what the future holds.

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Monday, March 8, 2010 - 5:53 AM - Tampa DJ Blog log entry by DJ Frontier

What Could Have Been

On the theme of going back in time (see the last post about doing a second take remake of Party Zone 2 below), I can’t help but look back and think that I could have done twice the number of releases that I did between 1990 and 1998.
Not that I could have done more in that first year. From October 1990, to December 1991, I did 19 releases, which was just over one a month. With a lot of my music reused from release to release, I just about took it to the limit with the limited resources that I had. If I had more money for music and tapes, however, I could have done one release per week (with the relaxed GEN 1 and GEN 2 production protocols used back then), which would have taken me to 56 in 14 months.
With GEN 5, I could do a run like that, without compromising quality, but it would take up too much of my time. I also couldn’t help but remember, despite the quick production process back then, that quite a few of my programs were forgettable “filler” programs, or experiments, meant to fill a catalogue. Although I will experiment, still, I will be putting a create deal of thought, creativity, planning, new music, and work into upcoming releases. Also, unlike the past, I have substantial resources now. I’ll be able to obtain more than enough CD’s to keep up with even a heavy workload of four releases a month; a workload that may be needed to catch up with my planned output, because, as of now, I’m still dead in the water. I don’t have the new computers, music, gear, and software that I need.
That directly effects the conversion program where I am converting my entire back catalog into MP3 programs. I have converted almost everything into test MP3 programs, but with the data drops and need for editing with some releases, those programs are for me to listen to in order to refresh my memory, and aid me in creating support material for the upcoming official MP3 releases.
This said, I have been listening to all of those releases. Most of them are excellent, and I’m even referring to the ones from the ancient days.
Which brings me to this.
In 1992 and 1993, I decided that my releases would have to be done with “professional” equipment. Wanting a full studio with great equipment was the right way to go, but I have to now admit that I should have continued the GEN 2 release line while building the new studio. I still had all of my music on tapes, and still had my famous microphone. There was never more of a cost-effective way to do these programs than with a boom box with two dubbing decks and a microphone jack. I’m even impressed by what I pulled off with my third release, Horizons, which was made on November 1, 1990, and released on November 2, 1990. It was way ahead of its time.
So, I have to think of what could have been. Because my life was in literal chaos for most of 1992 (thanks, you two......), it would have literally been the fall of 1992 before I could have obtained another boom box and continued. A year down would have been much better than taking over two years to rebuild and continue. Not only that, but had I continued in late 1992, I could have done at least another 30 or 40 releases before “GEN 3".
There would have been drawbacks to this, however. It must be noted, that, at the time, Futura was already being planned, as was Horizons RMX (announced in December 1991 on Waveform 2), and if I had continued with another boom box, that GEN 3 would have been started then, and the professional gear would have been GEN 4. Additionally, Futura, Party Zone 2, and Waveform 3 would have almost certainly been done with the boom box gear, and they would not have been as good as they were (I would not have been able to mix the tracks well, and the quality would not have been as good). Also, with all of my money going to more music on tapes, it would have taken a while longer to get the new CD players, mixer, and other gear that I did GEN 3 releases with.
Those points taken, I think that it would have been better had I continued with the same level of equipment in late 1992. By the time that I had put together Geomedia and began production of GEN 3 releases, I would have been more experienced, and they would have been even better.
I also have to consider the anemic output of those advanced GEN 3 releases. It’s true that, in that first year, from 1994 to 1995, I had to spend a lot of money buying CD’s to use, as I discouraged myself from using my tape library. I should have allowed myself to use both my CD and tape libraries.
Of course, history paints a different story. From 1994 to 1998, a 4 year period, I only did half of what I did in 1990-1991. The GEN 3 releases were better, in my opinion, but not by much. At the very least, I wish that I could have done more. I could have, at least, done one release a month, and in 4 years, I could have done 48 GEN 3 releases (and I should have not bothered with the covers until I actually did a large release of a program. Those expensive covers slowed me down, and they were not that great).
Ah, 40 more GEN 2 releases and 48 GEN 3 releases. That’s at least 97 releases, and I could have closed out GEN 3 with the 100th release. Could you imagine the conversion process on that many tapes? The programs are excellent, though, and it would have been worth it. For now, I’ll have to settle on my 30 or so releases, a third of what could have been.
I guess that we all have regrets when we look at the past. I’ll have to make up for it in the near future.

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Wednesday, February 17, 2010 - 11:00 AM - Tampa DJ Blog log entry by DJ Frontier

New Projects

Ah, another post. I’m on a roll today. I was listening to Party Zone 2 this morning, and I had a rather cool idea. I’m going to do it, but it’ll be sometime next year before I’ll be able to.
What am I going to do?
Remake Party Zone 2 as a 140 minute GEN 5 release!
This actually be a new dance mix based on the original Party Zone 2, with the rage theme and some of the material redone, and will not replace it. The original GEN 3 Party Zone 2 release will still be released, and this new Party Zone 2 will be a new release and an alternate version of a program that I like a lot.
Alternate version? Remake?
The new “old” program will be called Party Zone 2 RMX, and it will be released after the 50th release next year. It will be the only GEN 3 release specifically remade as an alternate sequel.
So, what about Party Zone RMX, Horizons RMX, Waveform RMX, and Futura RMX? Well, those are not remakes of a single release. All of those are remixes of the best of a series. Also, if Party Zone 2 RMX were a sequel to Party Zone RMX, it would be titled Party Zone RMX 2. I have no intentions of doing sequels to regular RMX releases, by the way, as RMX programs are designed to be a best of a series, usually. Party Zone 2 RMX is different. Understand now?
Party Zone 2 RMX is a remix of Party Zone 2 specifically, as an alternate version which stands alongside the original. It will be interesting, and I’ll be doing more creative things like this in the coming years. It should prove to be fun, and entertaining, to compare the two, and enjoy them both.
The original Party Zone 2 is a cool program with a lot of strong program elements. Although I have to cut five minutes of the program from the second side, it will be re-released as a digital program along with the other archived releases.
What’s cool about Party Zone 2 RMX is that I will take the strong elements of the original and move them into a new direction. I will also removed some of the parts that did not work, and will be adding a lot of new music, samples, and monologues. Since it is an “alternate” version which is a true stand-alone GEN 5 release, I’m going to do something interesting.
I will have fun with this project. I have a rule that I will follow in the remake.
What’s the rule? Well, since Party Zone 2 had a video gaming subtheme to it, I will take a page from the “Retro Evolved” video game development concept, where classic games are made with modern technology.
As far as I’m concerned, it will be 1994 all over again, but the program will be done with modern GEN 5 production technology. It’ll be like time traveling, to an extent.
How so?
The rule is that I can only use music from 1994 and before. No advanced music from the future can be used, no sir. It’ll be fun, although I will take a creative license with the monologues and the samples.
Party Zone 2 RMX will be another take on a classic. I’m going to create a darker mood than before, too, a mood for the program that will be a better fit for the theme. The original Party Zone 2 was more boppy and happy. This one will be more intense and emotional.
DJ Cricket, played by Nicole Angel, recorded the introduction for Party Zone 2 when we were working on Futura. Her voice is high and whiney. What I’ll do is refine the scripts that work, and re-record the monologues (mine could have been better, too). I’ll have a professional actress voice Nicole’s old parts, with changes. The voice will be deeper, and more sultry, delivered with a dark edge. Parts such as “Party Zone 2.0" in the opening monologue will be changed to “Party Zone 2 RMX”. As far as our characters are concerned, though, it’s still 1994. An alternate 1994, and an alternate Party Zone 2 done with future technology; we just won’t ask where it came from as we do our second take.
There are other cool things that I can do with this release, too. As an example, there is a Prodigy song from that era which I wanted to use, but couldn’t because it had issues. It starts out awesome, and then switches to some Reggae-sounding Island crap which made the song useless (It was “Out of Space” from their 1992 album “Experience”). I plan on using Abelton to extend the cool parts of the song and remix it. I can then add the song that I always wanted to the new mix.
Fun stuff.
In other news, I am now working on the official Celebrity Class DJ Frontier and DJ Wiz Kid sites this week. More on that later.

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Wednesday, February 17, 2010 - 10:00 AM - Tampa DJ Blog log entry by DJ Frontier

Why Gen 3 Ended Like It Did

I walked around a lot today, and thought a lot about this subject. I’ve been listening to all of my programs with my test MP3's, and they are awesome. They were way ahead of their time, and it really seemed to be a shame that I came off the track and lost 12 years when I could have been doing releases while I worked on other things, too. There is no reason why I couldn’t have done this, or at least found some way to do it, until at least 2001. Well, actually, there were reasons.
What happened to the GEN 3 release schedule, and why did I quit doing underground cassette program releases 12 years ago?
It’s not like I woke up one day in 1998 and thought “gee, I think it’s time to stop DJ’ing these tapes.”. It didn’t go down like that.
What happened was gradual, and more of a transition. A number of factors, especially costs, and diminishing returns, contributed to me getting away from doing those programs.
In the good old days of 1990-1991, those releases were quick and cheap. I often did them in a night, dubbed off a few copies, and my fans, in turn, ran off more copies. The programs were easy to do, and they didn’t even have covers.
With GEN 3, starting in 1994, things got more complicated. The programs were not that much harder to do, but there were other things that they needed. I put a lot of effort into those cassette covers, and this was before computers and professional design software. I had to do them by hand at print shops, and it would cost me around $60.00 to set up the master template for a single release cover, and at least 8 hours of work with scissors, glue, and copy machines. Keep in mind, too, that I didn’t get my first real computer until 1998! I didn’t even have an easy way to type what had to be on the cover and in the Z card inserts.
With the cover requirement, some of the GEN 3 releases didn’t even get covers. I made good money at the bank, but also spent a lot of money (such as on my expanding photography career). I couldn’t release many of the GEN 3 release without covers, either.
Costs were bad, and it didn’t make sense to spend all that money on something that I could not sell. I couldn’t sell the tapes because much of the content was copyrighted. Thus, I couldn’t make my money back. As much as I loved to do the releases, it became too expensive.
Ok. Each release took at least two blank tapes ($5.00), 15 CD’s of music (Usually, I couldn’t use any more than 2 tracks per CD, and needed around 17 to 20 to do a release program. At an average price of $5.00 per CD at used CD stores like Vinyl Fever in south Tampa, figure $75.00- these costs are still the same today, and I’m cool with that). Each release took a lot of time to plan and do preproduction work, too, but that was something that didn’t matter to me- I would have done it anyway.
Ok, each release cost about $80.00 to make, and that’s cool. Then, it was a bit, but today, not a problem at all. To make the release ready for release, though, was the deal breaker. The cover cost $60.00 to set up the template. Because the releases has to have covers, I had to do all the copies, unlike the early days. Each tape would cost $2.50, and each color copy of the cover would ring in at $1.20. That’s $3.70 for a tape that I could not sell. For a good release run of 100 copies, I spent $370.00. See where this is going?
I loved doing those programs. I really did. But a total cost of $510.00 for each release of a GEN 3 release (X10 for the GEN 3 run), for something that I could only use for promotional marketing, and you can see why is was not cost effective.
So, I didn’t wake up one day in 1998 and decide to quit doing them. I just put off doing the releases until I was no longer doing them, and then became sidetracked with web sites work, DJ’ing events, and photography.
That was then, however. Now is now. The technology is finally here to make the releases more cost effective than they were, ever.
My tools are awesome. I’m also a professional designer, and get paid now for my design work (as you can see by all the new GEN 5 covers that I’ve been displaying). Material costs? Also gone!
The costs for the CD’s are still the same, but my event planning company has to have those, anyway, so that’s not an issue.
Another issue that I had was when I tried to finish Rush Hour. The program requirements exceeded that of the analog cassette format. I couldn’t get it done with analog tools, and that spelled the end of the line. Oh, and then I seem to recall what probably was the final straw. I'd make copies of my programs, and people would tell me that they had no way of listening to tapes. The format was outdated, and it was no longer worth it to make more programs on a cassette format which was long in the tooth. So, it ended.
Two years later, in 2000, I began tooling up for GEN 4 programs, which would be done on a computer and released on CD's. I began to tinker with cover formats, and started to plan for the new GEN 4 CD releases to be produced in 2001. This didn't happen, though, as hard drive storage was expensive, and burning CD's was not as easy to do as dubbing a tape. Additionally, although the CD format was cheap, it was limited to 70 minutes, 20 minutes less than the old programs were. The releases would have to be released on 2 CD's for a 90 minute program, and, of course, the 2 CD's would have brought it up to 140 Minutes. Still, 2 CD's were very inconvenient, as the fans could have lost one and only ended with half a program. With the prospect of spending a lot of money on a computer which have been required to handle these releases, GEN 4 was shelved in 2002.
It's sad, too. We played a lot of the GEN 3 releases during modeling shoots, and a few models even obtained copies of some of them around 2000 and 2001. They loved them, and I had new fans. Lowie loved Party Zone 3.
GEN 4 skipped, 8 years later, technology had finally caught up, with the widespread adoption of digital media players like the iPod, High quality MP3's, and powerful computers at low cost. In retrospect, I had never given up on the programs. I was merely waiting for the technology to improve so we could adopt a new format, and continue making releases. In 2008, I began adopting new productions standards for GEN 5, GEN 4 having been far enough along to count it as a production generation. GEN 5 is going to open up everything, and the programs will finally achieve, and surpass, their original potential. I'm excited about it. This is going to be a revolution, and there are no longer any limits to what can be done. So, what’s different about GEN 5?

1. Digital production enables me to create and execute professional-quality programs for the first time. No more limitations of analog editing and media.

2. No set up costs for covers, as I am a professional designer now (as well as one of the best photographers in Florida), and I can design the covers digitally.

3. No material overheads. No tapes to buy, and no covers to print.
Thus, that $510.00 overhead becomes $80.00, if that. Also, the quality is superior, and professional.

Most importantly?
Unlimited distribution. I used to have a hit when I had a few hundred tapes floating around. Now, there are no limits. I could have literally millions of copies out at no cost, in theory.
My programs were way ahead of their time, limited my the technology of the 1990's. Now, with digital technology everywhere, the technology has finally caught up with the format.
Some of those GEN 3 programs which were planned, but never done, can now be done as GEN 5 programs. Now, I can also finally finish Rush Hour, too.
The bottom lime is that it’s worth doing now more than ever, and what’s about to happen is going to blow away anything that I’ve done in the past.
And that, my friends, is why GEN 3 ended like it did. What annoys me most about it, though, is that I felt that something great was about to happen with the programs, and I have a lot of unfinished business. Now, that something can finally happen.
I know that some of my greatest work as a DJ is just ahead. Welcome to the future.

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Wednesday, February 17, 2010 - 9:00 AM - Tampa DJ Blog log entry by DJ Frontier

DJ At Work

Although I don’t have the new studio computer yet, and am unable to start converting my Cassette Program Releases to digital files yet, I’m working on it. In the meantime, to speed up the process, I’ll do what I can, and there is plenty to do. I want to get these re-released by late spring 2010 at the earliest. I have to have a fanbase built up by October.
I could leak the test MP3 programs that I am using as guides right now, flaws and all, but it won’t come to that.
As of today, I’ve decided on the official release schedule for conversion. These programs will be converted into new digital program releases, complete with professionally designed, iPod-optimized covers.
All of the releases, with the exception of DJ Foxx:Smooth Love, DJ PJ: Party Mix 1, and DJ Wiz Kid: Eat Me, Bitch!, will be re-released, with new covers (if they had original covers), program notes, and more. That would be 30 out of 33 releases, and each release is 90 minutes (with the exception of the Bitch mini promo).
That’s a lot of work to do, especially when some of them need to be edited for content.
I can convert at least two releases a day once I get the new computer, which includes editing and finalizing the MP3 program from the original WAV file. Unable to do that on a daily basis, however (although, in contrast, my online television series, Frontier View, will film daily), expect that process to take at least two months for the conversion, editing, and final programs alone. This does NOT include covers, programs notes, and support files, but I can do all of that work while I wait for the conversion computer. Guided by all of my initial test MP3 programs, by the time the conversion process starts, I’ll have all of that support material mostly done; I'll start now.
If I obtain the computer in March, I should be able to, at the earliest, have all of the programs ready and released by May. Summer 2010 it is, I suppose.
I certainly hope that four months is enough time to generate a fanbase.
That said, I will be starting production on the new GEN 5 releases in the summer, completing about two per week and starting their release in October 2010 (I may have to rip CD’s as I need them, and build the digital library that way). With that rather optimistic, and tentative, schedule, I should have 24 new releases done this year. That’s optimistic, though, especially knowing that it took 12 months to do 18 releases in 1990-1991 with relaxed production standards. 24 releases in 6 months would be a record, by a mile (and I am not rushing out anything. I will put quality and care into every release). When you factor in the high standards for production with GEN 5 releases, and program times of 140 minutes compared to the original 90, however, that kind of run seems impossible. Yes, I would be able to do 2 releases a week, but I’m not sure if I could keep it up- it would cut into my writing time at the very least, and with two book projects and a ton of web sites to write content for, I wouldn’t be able to keep that up for long.
I want to get a ton of new material out as quickly as possible in order to clear out the backlog of releases scheduled, and to clear the ground for new material, but I will not rush out anything at the expense of quality, or other priorities.
1 release a week seems more reasonable, but I have a lot of other things going on. Therefor, I will set a schedule of 1 release every two weeks. I could do 2 a month, and maybe as many as 3 if I can find the time. That’s an average, of course, because complex programs like Rush Hour and Daytona, which are team efforts, will take longer to do.
So, if I start in June, you could expect 12 new GEN 5 Digital Program Releases completed by the end of the year (not all released by then, however, due to lead time), and an additional 24 in 2011 (with at least a ten year production run of the underground releases, that could be as many as 252 releases by 2020. Added with the original 30 that we re-released, that total would be 282. I’m thinking that there could be as many as 300 releases by 2020, and we could be at our 150th release by the 25th anniversary of when this all began.
As you can see, I’m setting up for a long term production project- I wouldn’t be doing all of this work to set up another meager run of 33 releases; 33 releases, that I might add, took eight years to do!. Hundreds of releases are possible with GEN 5 production standards, and I’m sure that technology would evolve over that time, too.
I have, at a minimum, 17 new GEN 5 releases scheduled before I can start anything really new, as some of those are sequels to existing properties or special programs from the backlog. It’s going to be spring 2011 before I can really get started with brand new, fresh GEN 5 properties, because I have to clear out this backlog, first.
The cool thing, however, is that you can expect to have at least 33 GEN 5 releases available and released by the holidays next year, matching the original release archive in number of releases. This Holiday, there will be about 6 available, with 27 more coming in the span of a year.
I can’t wait to give someone a thumb drive with 36 (6 new GEN 5 + the 30 original) releases on it this Christmas. That’s almost 4 Gigs of files with roughly 59 hours of listening time (I’ll buy a 4 Gig USB thumb drive for them now). Cool!
Can you tell that I used to work for a bank? I like numbers.
Alrighty. Here are some more production notes for my new GEN 5 releases.

1. No more announcements on the releases. News is cool, but nothing stated which has not been done yet.

2. Plan the flow better. Use Ableton’s features to make pitch, and beat, perfect mixes.

3. More music. I am budgeting at least 1,000 new CD’s this year. I have a lot more money and resources than I had in the old days, and am finally able to research music to make each investment count. That’s roughly 12,000 tracks (and each release would have an average of 30 tracks on the new 140 minute format, up from the 20 or so from the old 90 minute format. Longer programs, which could go 240 minutes, could have as many as 60 tracks! What programs would go 4 hours (240 minutes)? Programs which could serve as backups for event sets, and most of those would be dance mixes. I do have a few which would clock in at 240 minutes planned, as I am no longer limited by a 90 minute audio cassette). I’m happy to say that the practice of repeating music on different releases is pretty much over. Expect my programming to blow away the old programming, too, now that I can pick and choose the right music; each program will be strong, with no lame filler tracks.

With that, I’m done. At least for this post.

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Tuesday, February 16, 2010 - 7:15 PM - Tampa DJ Blog log entry by DJ Frontier

Production Overlap

I’ll keep this short, as I have things to do. I did, however, want to include this information with the post this morning; after I finalized the post and filed it, though, it occurred to me that I missed something.
Regarding the production of several different ongoing media projects, I can confirm that I will be optimizing the cost-effectiveness of my efforts (bang for the buck, two birds with one stone, etc) by combining some projects. There will be overlap in some of these productions, where it is relevant.
This means that there will be things like a lot of behind the scenes coverage on my online television series, Frontier View, among other things. The cool thing is to get the entire picture, you’ll have to follow everything.
For example, let’s say that I am putting a lot of effort into a GEN 5 Digital Program Release, or a Podcast. I have guests there, and we’re recording our program. I’ll have cameras rolling, too, and will use the footage in Frontier View. I’ll cover some productions from more than one angle, and you’ll get more than if you were to settle just listening to a release or podcast. Oh, and of course, there will be a lot of photographs, too.
With Advanced Model having its own podcast, hosted and produced by me, the same production overlap will be used there, too. I believe that I haven’t announced this, yet, on my modeling resource sites, but we are going to do video tutorials, articles, and stories with various models starring in them. This will overlap with the podcast, among other things.
This multimedia production approach hasn’t been done in my history of doing production work, but it should prove to be both innovative and revolutionary. Luckily, I had the foresight to build support infrastructure for all of this, which took years, and I have all of the talent connections needed to maintain an ongoing, indefinite production effort, too. I have some of the best, and most talented, friends in the world. Don’t you wish that you had friends like mine?
Oh, and just wait until what you see me do with independent film and video games. I have some revolutionary work which has never been done before, and as I developed those concepts, again, over years, I tested each component of the overall virtual machine. I’m not only confident in the success of these efforts, but I’m sure that they will, at the very least, achieve everything that is planned. I have hard data to back up my educated predictions.
Revolution in entertainment is well underway. Your conception of what entertainment, and art, is will change in the coming years.

Could the following videos be a prelude to the upcoming Frontier View online television series, or is it just a friends and I having fun at the fair? I'm not saying. Find out soon.......

Featuring my friend, Tampa performer Ann Poonkasem (singer, model, actress, television host, dancer, national anthem singer for major sporting events, former Miss Tampa, Former Miss Gasparilla). I'm running my cheapie camera (you can hear me talking alot), and will be getting some serious production hardware soon.

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Tuesday, February 16, 2010 - 8:00 AM - Tampa DJ Blog log entry by DJ Frontier

I Can't Wait

I’m just getting started with my modeling industry project (I finished the marketing material Saturday), so it will be a while before I can do much.
I don’t have the gear for converting the CPR’s to official MP3 programs (I now have an almost-full set from my current outdated equipment, but the data drops make them flawed. Some of them will have to be edited, too), and I don’t have the gear for my online television series or my DJ video projects. This will change by spring.
I was going to begin production of my Frontier View television series this spring, but it will be summer or fall before that will happen. This means that the series will not debut until fall 2011 at the earliest. This is fine, too, because my film festivals have also been delayed a year. I won’t have my first one, Reverence, until fall 2011, and the Tampa Film Showcase will not begin until early 2012.
I will have all the Cassette Program Releases that I plan on releasing as MP3 programs out by summer (It will take at least three months to finish the conversion project), especially since the GEN 5 releases are scheduled to begin production around that time, with new GEN 5 MP3 releases (Era, Revo, Waveform RMX, etc) released regularly starting this fall. I have to make that October 6, 2010 20th anniversary date. With production protocols now solidified, I should be able to do two or three releases a week, regardless of what else I have going on.
I’m going to be investing in a ton of CD’s from Amazon and Sound Exchange this year. I plan on obtaining at least a thousand (Amazon makes it awesome researching music because it allows you to listen to tracks online. In the old days, finding music was a lot like Russian roulette, buying tapes that I couldn’t listen to until I bought them, and then I was stuck with them because they couldn’t be returned). There may be a bottleneck converting all of these CD’s to MP3's and WAV rips, and organizing those files, but the new studio computer will be humming along daily with this job. I’m going to need a lot of hard drive space. Ideally, what I’ll end up with is a new laptop as a portable production studio. Some of those releases will be done much like they were in the old days, on location in my spare time.
I think that I will be putting the GEN 5 underground releases, such as Era and Revo, together with more-portable MP3 files, which use high levels of file compression. The commercial releases, coming much later, will use the same production standards and tools, but will be done with WAV files in the studio, which are pure, uncompressed files for maximum quality. A laptop can only hold so many WAV files, and the MP3-sourcing makes sense. The jury is still out on this, though, so I have a little while to sort it out.
When the new studio computer is up and running, the conversion project for all of the CPR’s will begin. Raw master files will be created, and then edited for content (Bitch: The Major Release and Waveform 2 require editing. I went over the line on some of those releases, and there is some content which I do not want to get out. Additionally, I will be removing references of a negative nature concerning some people. I really don’t want to be violating any obscenity or other laws, either. When I returned my iPod Touch recently, I took great care in removing all of the test MP3 programs- yes, I am that serious about keeping substandard files from getting out).
When released this summer, I think that the new fans will enjoy what they will be getting. Each re-released CPR MP3 release will be released in a file folder. The file folder will contain an MP3 file just under 100 Megs in size (the GEN 5 files will be just under 150 Megs, or larger, because the programs are longer), an iPod-optimized cover image JPEG file (already tested on the iPod Touch!), Instructions (including instructions on importing the programs into iTunes, which was a nightmare for me, at first, to do since they don’t support an non-iTunes music with documentation. I suppose that they want to iPod owners to buy all of their music from iTunes instead of importing their own MP3's, and not telling them how to use their own music is one way to promote this, I suppose), program notes and dedication, HTML links to the worlds of DJ Frontier and DJ Wiz Kid, and the program listing itself (although some program listings will be incomplete due to lack of documentation on my part, and the long period of time). Regarding the support documentation, I am considering doing online support like I do with my business clients. This will enable me to keep everything updated and current. The support will be on the relevant DJ sites; all of the DJ Wiz Kid GEN 1 and 2 release support files will be hosted on DJWizKid.Com, and all of the DJ Frontier GEN 3 and 5 release support files will hosted on DJFrontier.Com. Note that I will not be offering any MP3 downloads or complete program packages on any web sites, so don’t even ask. Also, because copyrights are not cleared, these programs are not for sale. I will be using them for promotion only.
I’m done for now. I now have to work on Tampa Bay Modeling, and will be spending the rest of the week working on Independent Modeling. Next week, I will be working on Florida Modeling Career, and then get ready to launch Advanced Model in March. There is a lot to do, especially since aggressive modeling marketing rolls out this week..
At the moment, I am listening to a test MP3 program of Waveform 2, my last DJ Wiz Kid release from December 7, 1991. It’s pretty good, and has an excellent music program, despite the rants about the Lakeland gang who rioted my beach party on November 2, 1991. Some of this content will have to be edited out before re-release. The irony, however, is that Waveform 2 was never really released, because within a month after the riot, my underground distribution network was destroyed, and I was struggling to survive (and let’s not even go into the nightmare which was 1992. I was betrayed by my friends, lost everything, and left to die). The cool thing? I was out of the mess within a year, and was then developing a new production studio, Geomedia One, for the next generation of cassette program releases. 1993 saw me change my name to DJ Frontier, and in the summer of 1994, I was back at it. This would last until sometime in 1998.
In the summer of 2010, I’ll be at it again. A new era will begin.
Holy crap..... I just heard the end of Waveform 2, and in December of 1991 I announced upcoming releases such as Horizons RMX and Futura. I didn't remember that! That’s amazing........... I didn’t know that I planned that far ahead, and thought that those programs were conceived in 1994. I also declared Waveform 2 as the first of the GEN 3 releases, which wasn’t so (I had no idea how bad things would get in 1992. Luckily, no one heard Waveform 2, which meant that GEN 3 did not start there), and eventually forgotten as Futura, with its CD-sourced music and mult-track mixes, would become the first GEN 3 release in June 1994.
I now remember those the thought of those releases fueling my determination to rebuild and start over with more professional standards. I followed-through, but it took a few years.
I’m always surprising myself. It pays to document history. This, of course, is also why I converted all of my CPR's to test MP3 programs, so I could recall the past and work on documentation.

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Saturday, January 16, 2010 - 8:10 AM - Tampa DJ Blog log entry by DJ Frontier

Production Time Conversion, And My DJ Role.

Yawn... I'm tired. Spent the night listening to my MP3 test releases while I worked on marketing (man, Waveform 3 is cool). I'm feeling a bit under the weather, so I might stay in most of the weekend; I'm entitled to a working vacation, and once this modeling photography / resource site campaign begins next week, I am going to be incredibly busy.
Anyway, on to the subject at hand.
Yesterday, I wrote about production times in days. I didn't define how many hours were actually spent working a day. By default, that's eight hours. Just wanted to clear that up. GEN 1 and 2 releases under DJ Wiz Kid took less than eight hours to do. GEN 3 releases, on average, took between sixteen and twenty-four hours to do a 90 minute program. On average, I intend to invest twenty-four hours of production time into each GEN 5 release. Looks like I'm buying a brand new laptop with a huge hard drive loaded with MP3's of my CD library, Photoshop, Ableton Live, an image library, a sample library, and a microphone so I can work on the releases at any time from the laptop. I'll be able to turn out several releases and podcasts a month that way.
As many can tell, I'll be leaning more onto the production side of DJ'ing. To be honest, I do not like DJ'ing weddings, or DJ'ing someone's party. I do not like mobile DJ'ing at all; I do not like people feeling entitled to tell me what do do after paying me. Most of those people, although they mean well and really do want a cool party, don't know cool music from their ass, and when I play what they want me to, I get blamed for the poor programming. Sure, I'll do mobile DJ'ing, and even wedding DJ'ing, in an emergency, and I'll do a great job, but for most of the work, count me out. A basic four hour DJ party from my company, Eventi Events, runs roughly $750.00, and I have plenty of great mobile DJ's who can do those gigs. If you want me to DJ your party specifically, and I am not filling in an emergency, you will pay more. How much? For my time, expect to pay at least $5,000.00 for a four hour set. If it's a wedding, expect to pay, at least, $10,000.00 for me to DJ your reception. Yes, I dislike doing those gigs that much, and no, I don't expect any sane person to pay that no matter how famous I get (and, if you are insane, I won't work for you, anyway). I had a horrible wedding reception gig back in 2002, and I had an ex girlfriend go insane and dare to call me up to DJ her wedding (proving that she was indeed a sociopath, and did not give a damn about me or my feelings. I later found out that she and her new husband, a con artist who pretty much bought her, scammed the DJ and photographer who did their wedding, and the DJ and photographer did not get paid. Was that their plan for me?). I'm also sick and tired of the drunk fathers of brides telling me to play the same lame songs ten times in a row (seriously, this happened to me at least TWICE, and pissed me off both times). I did not get into DJ'ing to kiss ass and cater to Bridezillas. People need to trust my instincts when it comes to programming music; I've had a long run of popular underground releases, and when I'm allowed to select the songs and do my thing, I keep the dance floor packed and the guests happy. I'm not above doing requests, mind you, but no one micro manages my sets. Delegate, don't dictate! I'm no one's employee.
I have worked wedding as both a professional DJ and a professional photographer for many years. With photography, I’m more in control of what’s going on, so I don’t mind so much, but with DJ’ing, it’s different. Not that I find weddings very romantic anymore. I tend to view wedding as anti-romantic, and as an artist and a true romantic, I don’t like them. Don’t agree with me? You work a billion weddings, and see for yourself how cookie cutter and fake that they are. Weddings are people who simply go through the same motions over and over again. There is no creativity or sincerity with weddings anymore; it’s more pretense and showing up your peers than anything else.
Convince me that you truly love each other in a monogamous, heterosexual relationship, and be creative with your wedding, allowing me to do my thing, and I’ll be more than happy to consider DJ’ing your wedding for what my company normally charges- it would be my honor. Do what everyone else does, and drag true love and romance through the mud with your rites of hypocrisy, and that’ll be $10,000.00, please, and don’t expect me to kiss ass or play the same song ten times in a row. Thank you very much.
I know that it’s taboo for a DJ to complain about what they don’t like in the business, but I don’t care anymore. I’m tired of feeling limited, and like I’m selling out, every time I do one of these tragedies. I’m DJ Frontier! I’m an artist! The money was never the goal, and it shouldn’t be.
It doesn’t really matter, though. My senior DJ, Marlon Brown, is pretty much the best wedding DJ in the Tampa Bay market (ditto for my photographers in the Tampa Bay wedding photography market). I don’t have to do it (Marlon is a better mobile DJ than I am, anyway, and he loves doing that). I’d rather be an event planner when it comes to weddings, and DJ events that the client books. I have great people who are happy working those gigs. As far as my role as a DJ goes, I’d rather do my own thing and DJ my own events, where I have complete creative control and people pay for tickets. That’s my thing.

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Friday, January 15, 2010 - 6:45 PM - Tampa DJ Blog log entry by DJ Frontier

Diminishing Returns: Achieving A Balance.

I’ve been wrestling with some production protocol issues lately, mainly in formatting and the average amount of time to allocate to the production of the GEN 5 programs.
Here are the issues, and my solutions.

1. GEN 5 DPR Covers
With the original concept to format the covers for large printed alternate CD covers (for the fans who wished to convert DPR’s to CD’s), the original templates were optimized for CYMK printing, and had to be converted to RGB for the cover image files. With the abandonment of the CD option (it is for the best, especially for the new 140 minute baseline format and quality issues), the specs need to be adjusted, if not overhauled outright. I will be redoing the GEN 5 cover format, and although it will be roughly the same as the existing default layout and formatting, expect a few improvements and adjustments. This means that covers for GEN 1, 2, and 3 cassette program releases which have not been created yet may be a little different. I still intend to use the older covers, and may have to, especially since I lost the original templates for many of them in a recent computer crash (back up those files!). The irony is that the computer crash was a result of playing an E.T. video game on my computer via an Atari 2600 emulator (I actually like that game, although it is regarded as one of the worst video games ever made, and has often been made the scapegoat of the video game market crash of the early 1980's, wherein the irony lays. I still like it, although I haven’t messed with the emulator and that game since. I might just plug in my mint-condition Atari 7800 and an E.T. cart from my library and play it proper, on the home theater system). The emulator hung up, I hard-reset the computer, and it corrupted my boot on my hard drive. As a result, I had to completely redo my computer and reinstall all of the programs. I lost a lot of files.
I need to figure out how to recreate that cool Horizons cover font! Wah!
Anyway, the new GEN 5 templates will be done in RGB by default.

2. Program Format and Production Time
This is tricky. One complaint that I had (and still have) about Horizons 3 is that I sat back and played music. That’s too easy, and turns a program into a compilation, which is a mistake. I’d rather not slap a title and a weak theme on a program and just play music. On the other hand, it is possible to overdo it with production. With the new software tools such as Ableton, I can micromanage music and samples, and change things around. Spending too much time on any release, even the upcoming commercial releases, is not cost effective (to be fair, however, those commercial releases are copyright cleared, and are sold, so there will be a lot more work done on them than I could ever justify doing with a standard underground release, despite the software tools being the same and the production standards being identical). If you spend a ton of time adjusting every second of a release, regardless, I may as well spend that time working on a feature film. Feature film? Well, there is hardly a post-production difference when you are talking about time. The standard running time on a release is 140 minutes, and often even longer. An average feature indie film is 90 minutes. Editing is editing, timewise, regardless of if it is an indie film or an audio program, and I’m not spending the production time on an audio release that I can’t sell when I can spend roughly the same amount of time editing an indie film that I can sell.
An independent film is tedious editing-wise, with every single second in need of being managed, and audio and video elements. With a DJ program, the music carries it most of the time, with some creative elements blended in.
I have a lot going on. Obtaining a balance to the production schedule, and adhering to that balance, is critical. For the traditional underground program releases, I’m not doing it for the money. I’m doing it for promotional material, event support material, and the art. That’s it. The commercial releases, on the other hand, are for sale, and more work will be applied to them, but the above reasons still apply, too. The commercial releases are still a long way off, and it is important to realize that getting the underground releases going is necessary to pave the way for commercial releases.
In the old days, with my GEN 1 and 2 DJ Wiz Kid cassette program releases, I used to do most of them in a few hours, and the results were good. They were very cost effective. The DJ Frontier GEN 3 releases took longer, and were not nearly as cost effective, with an average production time of three days. GEN 5 releases should take between two to four days to do, depending upon the complexity of the program. Commercial releases, which share the same GEN 5 production technology, will take a week, or more.

It’s time to go. I’m converting my 8th release from February 1991 under DJ Wiz Kid, Dance Floor Express, to an MP3 test program. Not bad- and I have the perfect picture for the cover (I took a dance floor-level picture of people dancing at one of our events back in 2001 with a 35MM film camera, and almost was trampled getting the shot. It's very cool). I’m converting more releases this weekend.
Speaking of this weekend, I have some photography and modeling marketing to do. I also have to get in touch with Tampa DJ Nicole 1111, who texted me a Merry Christmas a few weeks ago. Sorry. I’ve been busy (and I don’t do text). I do, however, want to talk to you. You’re cool, as well as a talented DJ. I still listen to your CD.

Oh, and before I do go, I have some more news. As soon as my photography marketing and modeling agendas are underway, which will be within the next week, and my new contracts are done, which will be in the next two weeks, I will be working on my DJ Frontier and DJ Wiz Kid sites. This Tampa DJ Blog will be reformatted to match, and the content will be properly organized and references at that time. Expect it all online by spring 2010!

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Saturday, January 2, 2010 - 8:22 AM - Tampa DJ Blog log entry by DJ Frontier

Production Lines Revealed.

Ah, yes, and before I forget.... the main reason why I wanted to post on the Tampa DJ Blog.
Here is some information that some of you will find interesting. It is a big reason that my future as DJ Frontier will eclipse everything that I’ve done in the past.
I’ve stated before that I will become a new type of DJ, a DJ of all media, and in some respects what I’ll be doing will invite controversy regarding whether I am a “real” DJ or not. Well, I will certainly be doing my own thing.
In the past, I was only know for a series of underground DJ programs. That underground release line will continue, of course, but it won’t be the only thing that I will be doing. Until now, I’ve only really gone into one production project which I’ve been working on, those GEN 1, 2, 3, and 5 releases.
There are five more production projects at the present time, for a total of six. I have a massive strategy planned which will be far more sophisticated, and effective, than any DJ in the world has ever done (as it should be, as I am the DJ of the future). My DJ Frontier brand is going to become huge!

Commercial Releases (GEN 5)
Coming in 2011.
Released under the Dream Nine Studios label.
This was hinted on before. This is a separate line from the underground releases, and it’s new. These releases will break new music, will have full copyright clearance, and will be sold as downloadable MP3 programs. Because the copyrights are clear, these will not be promotional items, and will not be free. The commercial release line shares the same GEN 5 production standards that the ongoing underground releases benefit from.

Underground Program Releases (GEN 5)
Ongoing since 1990.
Released under the Neo Studio Underground label.
My original DJ program line, underground releases which have limited copyright clearance. These programs are not for sale, and are for promotional use only. Party Zone, Waveform 3, Horizons, and many other of my famous programs were produced under this production line.

Podcast Program Series (GEN 5)
Coming in 2010.
The people who have always complained about me talking too much on my releases are going to love this. These will not be individual releases, but rather episodes produced under a podcast program. In this yet-to-be named podcast series (which may be named Horizons, or something like that), I take the opposite approach from what I’ve done with my releases, and I’ll be talking most of the time here, voicing my opinions and breaking interesting information on a variety of topics. The podcasts will be talk shows with little music, and in those shows, I’ll have co-hosts, guests, and other interesting features (such as parodies, faux commercials, gags, and skits, like a variety show. There will be elements of comedy, and drama). I’ll be talking about life, entertainment industry-relevant subjects, will interview people, and will be doing other things. Unlike my underground DJ release line, the podcasts will be copyright cleared, although the podcasts will be available for download free of charge.
With my online modeling magazine Advanced Model also doing a podcast series, I’ll be producing two podcast projects this year.

Online Video Program Releases
Coming in 2011.
This is something that I wanted to do since 1990, when it all began. With this series, I’ll be doing VJ duty as I do music video program releases. Expect these online programs to appear on my online film festivals, as well as YouTube.

Frontier View online television series
Coming in 2010/ 2011.
Frontier View, which is supposed to begin production in the spring of 2010, with the release of season one in the fall of 2010, will still see production this year, but the debut may not happen this fall. I’m not certain as to what the schedule is right now, and won’t be until spring. If production is delayed until later this year, expect a debut sometime in 2011.
In Frontier View, my DJ Frontier alter ego is a character in the series, and I experience many adventures. That’s all I can say for now.
I still might make that series debut this fall if I can get production started this spring.

Classified Series Project
Coming in 2012.
Title pending and details are a secret. This is a commercial video series which I will host. It will have full copyright clearance, and will be sold. It's a revolutionary idea, and it will sell like crazy; there is demand for this product, and no one is doing it. That’s all that I can say for now.

DJ Frontier forever!

I'm going to be everywhere....

And that’s it for now. I have to get some rest, and then rip some more test MP3 programs this weekend. Ciao for now!

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Saturday, January 2, 2010 - 8:00 AM - Tampa DJ Blog log entry by DJ Frontier

Tampa DJ Blog Updated. New Release Schedule.

The Tampa DJ Blog had been having some issues with Dreamweaver, it seems, with an overload of content corrupting the html file (the main site template tested fine). So, I took some time and grafted the content to a new html file, attached to the site template. To make sure that the corrupted content was not imported to the fresh page, I hand adjusted all of the fonts and colors. The result: No more Dreamweaver choking on the file. It’s fixed.
For now, at least. I have plans to reformat the Tampa DJ Blog to the new Celebrity Class web site format which will be shared by my DJ Frontier and DJ Wiz Kid sites (there is even talk about changing the Frontier Society site to the new format). Expect these new DJ sites to launch by spring in preparation for what’s coming later in 2010.
That done, a lot is going on here. I published a tentative list of the upcoming GEN 5 Digital Program Releases on my DJ Frontier site while this blog had issues, but that list has been changed. It’s still tentative, but look here, and you will get an idea for what will be done later in 2010 and 2011.
Please note that all programs, unless otherwise noted, have a running time of 140 minutes, which is longer than the old format of 90 minutes. Running time, however, is tentative, too, although all programs would have a minimum of a 140 minute run time. Some dance mixes and special programs would run as much as 240 minutes, or even longer. I’m no longer limited by a 90 minute cassette with this MP3 format. All programs will use new commercial program technology and formats, being entirely produced on computer workstations using 100% digital files and software such as Ableton Live 8.

34th Release
DJ Frontier: Era
Will be produced the summer of 2010 (and maybe sooner), and will be released on October 6, 2010. Much like the original Futura began a new era with my GEN 3 releases in 1994, Era is going to herald the beginning of a new era. This program, however, will be even more significant, celebrating my Era as DJ Wiz Kid and DJ Frontier, as well as the Era of what is coming with my career as DJ Frontier (there will be a production gap of over 12 years with this release, and Futura was released after a hiatus of less than less than 3 years). Even more significant, this program, while being done earlier in 2010, it will be released on the 20th anniversary of my first release: October 6, 2010. Much like my other current production projects, there will be lead time involved between production and release of the programs. Many of the new GEN 5 releases will be produced and completed months before they are officially released (although most would be within the frame of the same calendar year).
Era will not be a rip-off of Futura, however; although some themes may be similar to the first Futura, this will be superior in every way, and in many ways will be a lot different. It’s a celebration of my career as an underground DJ, and an introduction of what I’m working on now. The program will have several fans helping out, too, which I’ll have, especially with the re-release of most of my older releases in the spring of 2010.
I was going to premier the GEN 5 release line with the Revo dance mix release, but there were too many questions which had to be answered. So, Revo was pushed back to the 35th release, and Era was re-asserted.
I’m not certain what type of program release that I will have to celebrate my 25 year anniversary on October 6, 2015, but a sequel to Era is in consideration.

35th Release
DJ Frontier: Revo
This will be my next Party Zone series, and will utilize some ideas which would have been introduced in the never-produced GEN 3 Club Zero Cassette Program Release series. This is not to say that there won’t be another Party Zone, however. Party Zone 5, at the very least, is on the schedule. If Party Zone 5 is the last Party Zone (which Party Zone 4 was supposed to be before the superior Party Zone RMX was released afterwards), I want to close the series out on a high note. The Party Zone series is supposed to be more mainstream dance music, and Revo is more about techno, trance, and acid house dance music.

36th Release
DJ Frontier: Waveform RMX
With the original Waveform being converted to MP3 and re-released, the flawed Waveform 2 being dumped, and the defining Waveform 3 seeing re-release as an MP3 program, Waveform RMX, a remix program which was supposed to be produced back in the GEN 3 days, will finally be produced. Waveform RMX is based on Waveform 3 and the Waveform indie film property, and will mainly focus on the music. It will also set the stage for the upcoming GEN 5 sequel Waveform 4, which will occur after the events of the upcoming GEN 5 release Daytona. Like cool beach-themed music? You’ll dig Waveform RMX.

37th Release
DJ Frontier: Futura RMX
This is a music-centric remix of the Futura series, featuring some of the best music of Futura and Futura 2. It will also have a lot of cool new content, and will set the stage for the upcoming Futura 3.

38th Release
DJ Frontier: Generation 2
I have big plans for this one. It is a sequel with a much improved story over the first Generation, which was a brilliant program which few have heard before now. The story is completed, and it is much more ambitious than the original. Generation 2 ties in with the original Generation, as well as my upcoming indie film projects REM and Generations. In Generation 2, which occurs 11 years after the events of first story, DJ Frontier and a female companion, assisted by Dr. Fabian, use an advanced, and improved, MK3 REM VR machine to literally become a part of the memories of DJ Frontier. Of course, they get more than they bargained for when the memories of the first session mix with their experience, and other weird things happen. DJ Frontier and his friend are stuck in the REM world of his mind, and have to face his darkest demons, together.

39th Release
DJ Frontier: Lost Love (Smooth Love Part 2)
This is my take on DJ Foxx’s long lost GEN 2 release, Smooth Love (she was such a selfish little bitch, mind you. She stole the master tape, as well as any respect that I ever had for her, for other reasons. I’m glad that she is gone and out of my life). In the original Smooth Love, DJ Foxx spewed out all of this true love forever B.S., B.S. which time proved wrong. Where is her true love now? Does it have a price tag on it, and what is her price? Did she allow someone to buy her hand in marriage? Regardless, although I still believe in true love, Lost Love is about love gone wrong. It’s about lost love, and the regret that comes with it. It’s about selfishness, deceit, and destructive behavior. It’s about one-side love, and people taking advantage of others. It’s love gone wrong, and true love missing. It’s about a screwed up, confused girl who made a mockery of true love as she used people to satisfy her own self-serving needs.
It’s also about my memory of a girl who I truly loved, love for a girl who allowed life to change who she was, a girl who ceased to exist so many years ago. The girl who I loved died long ago.

40th Release
DJ Frontier: Reverence (Sidekick Release)
This will be a sidekick release for my short indie film, Reverence, which may or may not be done this year, so this is very tentative right now. The scoop is that, for 2010 at least, the priorities are my photography, modeling sites, and my DJ career. The films and film festivals will have to wait until I have time for them, and that may not happen until next year (always next year, of course, but I will not put my financial portfolio in jeopardy by overextending myself and my businesses. If you are waiting for my indie films and film festivals, you can simply wait a while longer. They will happen, eventually. This delay is a big part of the reasons why the Tampa Bay Film sites will not be updated much in 2010, too. I have lots to do this year, and won’t have much time for that).

41st Release
DJ Frontier: Party Zone 5
This will be the best Party Zone. Since it will probably be the last in a series that spans all the way back to 1991, I’m putting a lot into this with the concept that it is the Swan Song. Party Zone 4 was supposed to be the last Party Zone, but it was the worst of the series, and I didn’t want it to go out like that. Party Zone RMX was done after Party Zone 4, and it was easily one of the best. Party Zone 5 will feature mostly new music in a really cool dance mix which will enhance the spirit of the Party Zone series while not repeating what’s been done before.
So, which are the best Party Zone releases? From best, to worst.
Party Zone 3
Party Zone RMX
Party Zone 2
Party Zone
Party Zone 4
.... What’s that? A mistake? Party Zone 2 moved up the list? Actually, I’ve been listening to Party Zone 2 lately- a lot. It has a strong hook to it, and cool, jamming music! Out of all of the Party Zones, I keep listening to that one the most. It’s really good, and captures the energy and attitude of 1994 extremely well. It also has a ton of video game references and samples, which don’t make the program, really, but are cool. In my opinion, it’s more fun than Party Zone 3, but Party Zone 3 edges it out on a technical level, being a better program overall.
All the Party Zones are great. Party Zone 4, however, wasn’t that good.
When Party Zone 5 is released, however, expect it to be at the top of that list.
... Let the beat control your body.... “Ladies and gentlemen”..... “Those who dare to enter the zone”........ Eternal life........ Everybody’s free- to feel good........ What is love.... Mr. Vain...... Love House....... “We are GO for launch!”...... “Relax, pretend it’s a game. Maybe it’ll even be fun!”....... “So? We’re in this huge house, with all your friends.... P-p-p-p-party- Music!”.
Ah, Party Zone 2 had moxy. It was a fun release, and I love it. One of the coolest releases that I’ve done, for sure. You’ll understand when you finally hear it.

42nd Release
DJ Frontier: Neo Horizons (Horizons 5 has been cancelled, and this is a reboot)
I decided to do a complete reboot of the Horzions brand. Although I might.. might use a few songs from the originals, most of it will be completely new. Those old samples, and that diamix, will be replaced with something entirely new, and better.

43rd Release
DJ Frontier: Bitch 2
How do I follow up the most controversial release that I’ve ever done? Well, this will be just as controversial, if not more-so to some people. I’ll also be using tact this time, with 19 years of experience to draw from. I’ve grown up, and am a much more sophisticated individual now. I now know who I am, too. I no longer need to use profanity, or low-rent humor, to be entertaining, or to make a point. There were some elements with the original Bitch: The Major Release which I am certain broke some obscenity laws, and keep in mind that the re-release will be edited for content.
Bitch 2 is about lost people who don’t know who they are, who are insecure, and who use and betray others. A lot of this will have to do with a group of my ex so-called friends from so long ago, and that infamous event riot of November 2, 1991. It will also be about a certain girl who brought much misery unto my life (and arguably the cause of that riot).
Ironically, one of the reasons for the dropped re-release of Waveform 2 is because I spend most of the program whining about that crashed party. Whining is not wit, and I was out of form. I won’t be whining with this one.. I’ll address the issue with lots of humor and wit, because, my friends, those people are jokes. I have a lot to make fun of.
Of course, I really won’t be personally attacking these people, but will rather be turning the type of people that they were into a hard-core, running gag. We all know people like this, and I’m sure many fans of a new generation will be able to relate.

44th Release
DJ Frontier: Serenade
This could have been Smooth Love 2, too, but....... this is about genuine true love. The bitterness of Lost Love won’t be sound here, for sure. This will be a romantic program celebrating trust, consideration, romance, dating, interest, and commitment. Don’t miss it.

45th Release
DJ Frontier: Noel
At long last, my Christmas program! This is a Christmas-themed release with holiday cheer and music. I’ve been waiting to do this one for years, too.

46th Release
DJ Frontier: Resolution
This is the premier of an annual series celebrating the new year. It is an intense dance mix about experience, resolutions, and renewal, and having the courage to explore something new. Expect a dance mix closer to Party Zone than Revo, but I expect Resolution to be on many playlists at the end of each year (note that each Resolution program, although release toward the end of each year, may not be tied to that year, although this could change).

47th Release
DJ Frontier (and two other DJ's): Futura 3
The long-awaited third Futura release. This will be a new direction for the Futura series, although it will compliment the others, and I will have two DJ’s co-host it with me.

48th Release
Omega Team: Rush Hour
I already have most of the dialogue recorded for this, but will have to add more to it. I’ll bring in more actors, will convert the existing material to digital audio files, and will finally release it. Rush Hour is a parody of a radio program designed to sound like it’s a radio broadcast. It’s about a disaster which strikes the Tampa Bay area. The script is awesome, too, and it is funny stuff.
Rush Hour sounds a lot like those faux radio programs in the Grand Theft Auto video games, which is one reason that I adore GTA soundtracks so much. Note that I did not rip off that concept, either. The same goes for the crappy movie Rush Hour, which came out after I wrote this script.

49th Release
Omega Team: Daytona
Daytona was originally a GEN 3 release which is a sequel to Waveform 3, where wanna-be surfer Washout and his friend Tobey go to Daytona Beach on spring break to party and scam on girls. The script has been done forever, but it will be updated, with a lot of new material, much like what will be done with Rush Hour. It will be upgraded and produced as a GEN 5 release. Daytona will lead into the official sequel to Waveform 3, Waveform 4.

Well, that’s it for now. There are a lot more on my schedule, too, but that’s all that I will reveal for now.
Oh, and happy belated New Year, too. I’m not really in the mood right now to be partying. I’m busy.

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Friday, November 20, 2009 - 8:30 AM - Tampa DJ Blog log entry by DJ Frontier

Time For Some Criticism

I know that I’ve been touting how “revolutionary” and how “awesome” my old releases were, but I’ve been listening to a lot of them lately with the objective, and sometimes biased, mindset of the target audience, and I have some issues. Keep what I am about to write in mind when you listen to those GEN 1, 2, and 3 releases next year. If you have an issue with some of the programs, be aware that I am aware of it (and I promise that I will do my best to not redo those mistakes in the future), and if you think that I am not aware of it, I’d like to hear from you. I like criticism. If you have a point, and I realize that something is a mistake, I learn from it. It’s how we improve.
I may be a polymath, and one of the gifted ones, but I’m hardly perfect.
Alrighty. It’s time to do some criticizing.

1. Repeats Suck
I must have had a small collection of music back in the day, because many of my first releases played the same music over, and over, and over again. Reminds me of the current Tampa radio scene, where lame DJ’s kill cool songs by wearing them out (I’m looking at you, 93.3. You used to be cool back in the Power Pig days, but these days, you’re almost as annoying as a country music station. This said, a few DJ’s doing cool mixes on the weekends are a breath of fresh air... and I’m not talking about the obnoxious DJ’s who talk and talk and talk and think that they are witty when they are not.). To add insult to injury (ah, rub that salt into my wounds), I often played the same songs in the release after, and sometimes for several releases in a row! I’m telling you, I USED to LOVE Pajama Party’s “Yo No Se”, but not after I did over five lame mixes of it in at least as many releases. If I ever hear that song again, I’ll throw up.
I’m thinking that the early releases were made in a way where each release had a particular target audience, and it wasn’t thought that people would listen to every release that I did. While this is certainly a logical explanation for repeating song selections, it definitely is no excuse.
Repeating music wasn’t the only issue. I also repeated content. There was no excuse for that, and I was guilty of being lazy.
I think that the main reason for repeats, regardless how you spin it, was by producing a ton of releases in a short period of time with no way to keep up by buying music. In a one year period, from 1990 to 1991, I did 19 releases. That’s a lot.
The complaint about repeats goes way beyond music selection, too. I used to stutter samples a lot. Some times, there were cool results. Most of the time, however, that was not the case.
GEN 5 releases will get away from repeats of both types, unless it is needed for artistic reasons.

2. Sloppy Seconds
Some of my releases just sucked. I was in the studio the other night converting the more obscure releases to digital audio files, editing client pictures, and some of those programs were testing my patience. I will say that Horizons 3 sucks so badly that I am seriously considering not re-releasing it at all. I found it to be sloppy, lazy, and generally annoying. With Horizons 3, I seemed to simply sit back and play music. That’s not DJ’ing. That’s playing a music compilation with no creative input. Horizons 3 was so bad, in my opinion, that it dragged the Horizons brand, which I hold a create deal of reverence for, through the mud.
Even the supposedly “professional” GEN 3 releases had issues which were nothing more than half-assing. Party Zone 4 has audio cues for the samples bleeding through every time a sample is dropped. In some of those releases, the samples and the monologues are distorted, or not mixed properly. I also see technical issues such as recording levels whish could have been easily resolved, but were allowed to happen because I was neglectful.
Another issue that I have with some releases were the obvious lack of planning and preparation, and it undermined the execution. I winged some of those releases, and that’s why they sucked.

3. Don’t Drink And Spin
In some of the GEN 1 releases, there was a slur in my voice. Why? Because I was partying while I was DJ’ing. Yes, I drank while I worked on some of those releases, and it hurt them. Horizons 4 had to be redone, in fact, because I was so drunk when I made the first one that I didn’t remember making it. When I did stumble upon the first tape, it was so bad that I had to redo the entire program. Even after the remake, I still don’t think that it came out well (at the time of this writing, I haven’t listened to it in a few years. I don’t think, however, that Horizons 4 was as bad as Horizons 3 was.)
Oh, and I don’t really drink anymore, and especially not when I am working. I drank two wine coolers the other day, which is rare.

4. Split Programming
As I’ve already bitched about, some of the early releases had schizophrenic programming. I’d get the momentum built up on one side, only to discard it on part two. In many cases, my programming was flawed, and I’d drop in samples and other elements that didn’t quite fit.
Oh, and I really loved the good releases that had content suitable for general audiences, only to ruin it by the inclusion of a “Nasty Mix”. Some of those early releases will see EC-21 ratings because of this stupidity.
This was largely a thing of the past by the time I began my GEN 3 releases, as they all had strong themes and a ton of planning.

5. Does It Sound Like I Have A 200 IQ?
I’m telling you, sometimes I think that I talk just to hear myself talk. In the old days, when I was in my early 20's, I talked before I thought things out.
In some of my first releases as DJ Wiz Kid, I talked a lot of crap. I came off like a little punk who talked crap. Maybe it’s because, in some ways, I was. In Horizons 2, my friends and I sat around talking about a wild night out (November 9, 1990), where we were involved in a high speed chase through the streets of Brandon. I’m telling you, it was straight out of a movie, and I’m surprised that none of us were arrested, or killed. What happened was that I had this cool little red truck, a Toyota, which was modified as a ghetto-rigged (no budget) “concept” truck. I had it hacked with all these modifications. It had a television and a lot of weird electronics. I also had a billy club stashed in the truck, since that’s what all lame wanna-be gangster had in those days. That night, the truck was full. I was wearing spandex shorts (why, I don’t recall..... tacky, tacky) and a T-shirt. I didn’t have my wallet on me, because the shorts did not have pockets. Shelia (DJ Sabastion), who was my age, was in my passenger seat. In the open bed of the truck was my brother, who was 18, and our friend Mark, who was also 18. Anyway, we drove through Brandon, getting a case of beer, and decided to go to an apartment complex to look for my friend Kerri. Kerri wasn’t home. When we were getting back in the truck, we noticed a small Chevette with two people in it drive around a corner, stop, and then quickly drive away. I though that it was weird, and so did the others, so we all decided to leave. The apartment complex had one main entrance, and we had to exit that way. As we rounded the corner to exit (going the same way that the car had gone), we noticed that four people were rushing to get into the Chevette, and two others jumped into a new pickup truck. As we left the complex, both vehicles were right up on us, and the occupants were screaming obscenities at us.
I’m telling you that driving a tricked truck that had the bold word “Coolin” displayed over the windshield seemed to draw trouble to me.
With the maniacs behind us, and my truck not being exactly stock (it was actually quite fast due to some modifications that my brother had made when he owned it), I tore out onto the main road. Both vehicles were in pursuit.
I bolted right on Highway 60, and took my truck up to 90 MPH (the speed limit was 45). The crowded Chevette started to fall behind, but the newer truck didn’t have the same issue keeping up with me. It tried to come along beside me in order to work its way in front of me, an effort to block me and stop me. I hit 100. The truck struggled to get beside me. The Chevette continued to fall behind.
I braked hard and took a right on Lakewood, heading north (I should have, in retrospect, taken a left U-turn and headed for the police station a few blocks away). The truck was right on my rear bumper, and the Chevette caught up to us. I dark road with lots of bumps and crests lay before us.
A railroad crossing approached. I white car in front of us slowed for the crossing, and then proceeded. I came up right on the bumper of the white car, with the other two cars on my bumper. My friend Mark yelled that it was an undercover police car, and he insisted that he saw lights in the window. The tag was a normal white tag, however, and I didn’t think that it was. The stoplight ahead of us turned red. I decided that I wasn’t going to risk stopping and getting killed if the car was not a police car.
The road was single lane. At the stop light, the white car stopped. I kept going. I jerked my truck onto the right shoulder of the road. The other truck followed, and the Chevette hung back. I passed the white car by a foot. I hit the intersection sideways, my wide rear tires biting into the soil as they spun rocks and dirt all over the white car, and all over the truck behind us.
Police lights.
Mark and my brother started tossing beer out of the truck (we should have done this as soon as the chase started, in retrospect, because getting pulled over was one of the ways that it could have ended).
The white car really WAS a police car! The police car pulled over my truck, and the truck on my bumper. The Chevette kept going straight.
The police officer jumped out of his car. “You guys are F-ing crazy!” he screamed.
“Officer, these people are chasing us!” We yelled back.
The police officer called backup, and a patrol car joined him. They had to run my name in the computer because I didn’t have my license on me. Another officer dealt with the occupants of the other truck after looking around for what we threw out. He didn’t find the beer. The four people in the Chevette parked down the road and walked by. One of the police officers told them to keep walking. After what seemed like forever, the police officer in the unmarked car told us to go ahead and leave, and that he would take care of the two people in the other truck. As we left, we watched the two people in the other truck get arrested.
We never did find out why they decided to chase us. We later heard rumors that they were a gang, and that they would have killed us had they caught us.
We were lucky. Really lucky. We didn’t get so much as a ticket. I’m just glad that we didn’t get arrested, hurt, killed, or didn’t get someone else hurt or killed.
In many ways, I was a young punk who tended to get in a lot of trouble. You do stupid things when you’re young. This said, I was never bored, that’s for sure.
There are a lot more anecdotes like that from my DJ Wiz Kid days. So many, in fact, that I’m turning it into a animated series of short films titled “The Adventures Of DJ Wiz Kid”, all based on my real-life adventures.
Oh, and in another my GEN 1 DJ Wiz Kid releases, Fire In The Desert, which was about the first Gulf war, some friends and I were making fun of Iraqi’s, when we should have been commenting on the Iraqi regime, instead. Some of the remarks came off as racist, which is something that I am not. I’m not sure if that one will be re-released, either, as it doesn’t make us look intelligent at all. It’s quite insulting, really, to all of us that made it.
So, I was young. I said, and did, some stupid things. I didn’t do justice to my IQ. I grew up, however, and all of that is now in the past.

6. My Delivery SUCKED
Some of my monologues were awful. Really awful. So was my acting. There was a time that I was actually a worse actor than Tampa actor Joe Davison, if you can believe that!
My word choice was often poor, too, because I often had to wing it. I’d repeat phrases like “and all that” after sentences, which is annoying to listen to.
Practice makes perfect, I suppose. I did get much better over the years, although even my performance in the last release, 1997's Party Zone RMX, was lacking, and forced. My acting got a lot better after I started acting on television in the mid 1990's.
Think before I speak. Play with the material. Improv. The new stuff will be good.

7. I Was Too Personal
Man, some of what I said on those releases made me shake my head. It was embarrassing. I’d be talking about “special girls out there” and making dedications to girls who I was interested in. In one release, Nasty Mix, it became even more ridiculous. I was assuming that this girl who I was interested in dating would obtain a copy of an explicit hip hop program, listen all the way through the first side without being offended (and shutting it off), and then hear my plea for her on the tamer second side. In some ways, it was ludicrous, and a little bit sad (if any girl was cool with Nasty Mix, dating her probably wouldn’t have been a good idea, anyway. No girl who was worth going out with would have been a fan of that program, and the pathetic part about it was that, at the time, I didn’t even realize that). Ah, such was the life of someone who was young, and in some way, wet behind the ears. In many ways, I was awfully naive. I’m still not perfect, but I’ve come a long way in almost twenty years. I grew up. I now know who I am, and what I’m doing.
I came off like a schmuck when I did those “Aw, shucks, there is this girl out there who I want to go out with, and she knows who she is, and I jus’ wanna walk along a desolate beach with you holding your hand, and we can talk” monologues. Some of them just make me cringe. It’s cool if you are in a relationship with a girl, and you want to tell the whole world that you love her. It’s just that this is not what I was doing in those releases. What I was doing was pitiful.
Not that it stopped me from getting the girls, however. I dated a lot of beautiful girls. Once, in that infamous tricked truck of mine (the one from the car chase), this girl named Kim and I spent the night at an isolated dead end road, watching a program called “Friday Night Videos” on the dash TV, listening to music, talking, and doing a lot of kissing. It was freezing cold outside, but it was nice in the truck. We stayed the entire night there, and it was a very cool night with a very cool girl (and, no, she didn’t ever hear Nasty Mix. I suspect that she would have broke up with me if she had).
Well, I was a romantic at heart. I still am, but I now have experience, and tact, to temper my romantic notions.
Oh, and the women of the future were even better. In the last ten years alone, I’ve dated some of the most beautiful, intelligent, interesting women in the world, without being a popular underground DJ (although, to be fair, I am a top photographer, and I don’t know any women who are not models. I’m very busy, and models and talent are the only friends that I have, and the only people who I come into contact with. I’m not in business for the models, however, so you can get that tacky image out of your head. I’m a professional). I wouldn’t have had it any other way. In the next ten years, it will be even better. I’m certainly going to make up for the lost time that I’ve spent working on business support infrastructure. I’ve worked too much to be able to play, and that it about to change.

Well, anyway, none of my releases were perfect, even the ones that were hits. GEN 1 and GEN 2 releases, while mostly cool, were amateur. GEN 3 releases were Pro-Am, and were much better overall. With GEN 5, however, it’s pro all the way, and now that I realize the mistakes that were made, I can avoid them in all the upcoming releases. Every single GEN 5 release should, at least technically and creatively, blow away all the releases from the past. I have some really cool things coming up.
A lot of my old stuff is entertaining, however. I’m listening to the 1995 GEN 3 release Horizons RMX right now, the 24th release, and it’s really good. It’s the best Horizons ever made, and does the brand justice. The upcoming GEN 5 Neo Horizons (formerly Horizons 5, but I’ve decided to make an all-new Horizons release which will re-invent the line) will be better in every way, and longer, too, at 140 minutes (VS 90 minutes for Horizons RMX); over a third longer than the others.

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