0:04 This is why everyone's a DJ now. The DJ
0:06 industrial complex has reached
0:08 saturation point. This public health
0:10 crisis has become widespread in the
0:13 western world, affecting young people on
0:16 a binge diet of skins, original pirate
0:18 material, and trying not to khole in
0:21 smoking areas. This global outbreak
0:23 coincided with the cultural collapse in
0:25 meaning. When society disintegrates and
0:28 we no longer find contentment in work,
0:29 the flickering lights of the office can
0:32 feel like epilepsy. So the strobe became
0:35 our sole focus. Chasing away beds were
0:37 too awake to sleep in. Searching for
0:39 connection or a new dealer on Telegram.
0:42 We become Bristol presenting Berlin
0:44 sexuals signaling taste and muttering
0:47 scarcity. Adulthood pushed into the not
0:49 yet. All futures foreclosed until
0:52 further notice. Realizing our dreams
0:54 have been made hollow, we're stuck in
0:56 post aspiration where the promise of
0:59 progress becomes a practical joke and
1:01 ambition becomes performance. Climbing a
1:03 ladder that leads us to nowhere.
1:05 Disenchanted by the promises of a
1:07 rewarding career and our hopeful parents
1:10 who still think we're superstars. The DJ
1:12 is a generational symptom of millennial
1:15 disillusionment. And now we're beat
1:17 matching jungle on the edge of the end
1:19 with our hands in the air to catch the
1:22 sky when it falls. Merritocracy taught
1:24 my generation that ambition would
1:26 liberate us. But with doors too heavy to
1:29 open and dreams too outdated to realize,
1:30 hedonism held us in the absence of
1:33 contentment. So we scratched impulses
1:35 and gave up finding freedom to snort
1:37 coke off the keys to the kingdom.
1:39 Because sedation is first cousins with
1:41 forgetting, forgetting we only live for
1:43 the weekend because we hate our job. And
1:45 that our hope for the future is a hope
1:47 from another century. And a toothachake
1:49 in the land of milk and honey still rots
1:52 the inside of your mouth. You're meant
1:56 to take blue punishers in halves.
1:58 Every generation has its plague. My
2:00 ancestors had colonialism. Our parents
2:03 had consumerism. And now we have DJs.
2:06 USB attached to their keychain. They
2:09 think their USP is their ADHD. But when
2:11 we turn down their KRK's, their true
2:14 diagnosis is stage 4 individualism. A
2:16 terminal condition where everyone's on
2:18 stage and there's no one left in the
2:20 audience. A collective comedown from
2:22 being told we were special. Performing
2:25 uniqueness in similar ways. Our dreams
2:27 became speckled, ears still ringing when
2:29 the raves shut down. And we all forgot
2:32 to stop dancing. Hung over from a world
2:34 that told us we could be anything, we
2:36 decided to be DJs. We don't create our
2:39 own music. We curate playlists,
2:41 recirculating signs that will make
2:43 people think we're cool. And we do this
2:45 through the labels we wear, the books we
2:48 read, the people we hang out with, and
2:50 the opinions we parrot. The DJ figure,
2:52 ruled by the same logic, is just another
2:55 celebration of self. That was loud. >> Yeah.
2:55 >> Yeah.
2:58 >> Far from their communal roots, the DJ is
3:01 sign value in an image society. They're
3:03 the product, and the music is just
3:05 background noise. With this constant
3:07 battle for visibility, we're all glued
3:09 to our social media screens, stuck in
3:12 performance mode, showcasing our
3:14 greatest hits. The work of making our
3:16 lives look aesthetic is a demand we've
3:18 all internalized. And when we have a
3:20 desire to be seen without the skill to
3:23 learn an instrument, we all become DJs.
3:25 My generation grew up in the moment
3:27 after the encore. In a world that can't
3:29 imagine its own future, we resort to
3:32 lost pasts. And we can see this in the
3:34 resurgence of Y2K fashion, endless
3:37 reboots of old movies, and Oasis getting
3:38 back together. When life becomes
3:41 uncertain, we escape into simpler times.
3:43 And in a society that only values
3:45 authenticity if someone's making money
3:48 off it, we look to the '90s with no
3:50 cameras recording the drop and bask in
3:53 the afterlow of utopia almost. What does
3:55 it say about the present moment when a
3:57 time we weren't even alive to witness
3:59 feels better than whatever is around
4:01 now? What do we do when there's no
4:03 history left to sample? How do we create
4:05 new futures that can become someone
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