[Tango-L] DJ behavior

Thu Mar 1 05:35:58 EST 2007

In response to your question, Trini, about what music tango DJs get 
requests for--

(and in response to much else as well)

I have no idea. But I do notice that the Decarians are getting more play 
lately on the East Coast (which I'm happy about myself-- I quite like De 
Caro, Fresedo, early Pugliese, Laurenz-- I'm fond even of the shitty 
Fresedo recordings), whereas there appears to be a general backlash 
against Canaro, at least where tangos are concerned. Evidently someone 
said he was "too commercial," which turned a number of people off to his 
manifest ability. I also notice that amateur DJs have a tendency to rely 
on D'Arienzo and Rodriguez to such an extent that it makes them quite 
banal. Too much beat without any foregrounding of melody is plain Dull. 
(I offer this up solely b/c amateur DJs rarely get any precise feedback.)

Also, I observe that few DJs play chamber ensembles, except for the odd 
fellow who realizes that Trio Pantango (and etc. contemporary groups) is 
quite danceable, or who gambles on a tanda by the Ciriaco Ortiz trio 
(circa 1930s), which I've never heard at a milonga unless I've played it 
myself. (This only as a disclaimer: my experience is limited, and I pose 
as a critic, not an authority.) The almost exclusive emphasis on 
"orchestra" music is really something that could be more forgiving. 
After all, compared to a chamber ensemble, an orchestra is just a large, 
ungainly, vulgar affair, as many a string-quartet aficionado can attest.

When it comes to alternative music, I've observed that it's just a 
matter of the evening's ride. When the DJ isn't creating a simpatico 
vibe at 100% capacity, (some) people (sometimes) want something with 
more immediate juice, whether it's 50s Pugliese (which I've requested) 
or the Gotan Project (which I've also requested) or 40s Troilo (ditto), 
or what have you. But when the DJ is on, I see old-schoolers dancing to 
Bregovich, and new-schoolers dancing to Carabelli. This leads me to 
believe that anyone who holds fast to reductive categories is not only 
doing themselves a dishonest turn, but, when airing a restrictive or 
dogmatic opinion, rather a fucking moron.

Spatz
DC

p.s. When it comes to "weird measures and chord changes" (etc.), I think 
it's important to dispense with simplistic definitions. Rameau is his 
day was a fine composer of dance music; I've vetted his work for tango, 
and it doesn't work, because of the dance's nature, not the music's. On 
the other hand, Biagi's suckerpunches come straight out of Mozart 
(compare the Figaro overture to anything he recorded prior to his 
"Caricias" sob-ballad period). Much classical music worth listening to 
was originally dance music, or derived therefrom; but that means 
nothing. To compose anew, one must have a creative instinct for what 
works practically. Reference to history, or adherence to a proven model, 
has never meant a goddamn thing (to a dancer) if the piece ain't got a 
gut-level Dance-to-me pull. And since relatively few dance-tango songs, 
as we now know them, were instrumentals, I suspect that a good lyric, 
and good vocal line, have Some part in the equation that leads to 
success-- especially since the "danceable" part of a song (for most 
dancers) tends to be the accompaniment. (This in particular is a factor 
many composers of new tango music overlook. Samples fill the gap, but 
you cannot pave with them.)

As for brain-scans, I doubt anyone on this list purporting to be a 
musician (or dancer) (or neither) has had one. Nor can I imagine a more 
trivial trinket, if the question at stake is a matter of talent and 
capacity. No lasting artist has ever needed any credentials but his work.

Trini y Sean (PATangoS) wrote:
> Hi Igor,
>
> I am hosting a workshop this weekend, so I'll be off of
> Tango-L for awhile, but here are a few comments.
>
>   
>> Trini:
>> "There is always resistance to change when people are
>> asked to expand their comfort zone."
>>
>> Igor.
>> I hope you did not apply it to me. I am in the comfort
>> zone. More than that.
>>     
>
> Very good!  But being in an uncomfort zone is how we learn
> and grow sometimes, so it's not such a bad thing.
>
>
>   
>> Carol, who never was able to master tango dance, ...
>>     
>
> Was that comment really necessary?
>
>  
>   
>> Trini:
>> "At milongas, for example, more and more people expect a
>> little alternative music to be played."
>>
>> Igor.
>> I find it exactly opposite. New tango dancers form their
>> own dance floor which is to the good of everyone. On
>>     
> Traditional Milongas they play less and less of alternative
> staff if any. Pompous and tasteless music of 1960-1970
> hardly played anywhere anymore. 
>
>
> I don't know what milongas you go to, but that change in
> 60's-70's music is likely because deejays are getting
> better, planning better and are finding a different range
> of material.  At the milongas I go to throughout the
> Eastern and Central states, they are definitely playing
> more alternative music.  And the deejays always report that
> people are asking for alternative.  I haven't heard a
> deejay report people asking for traditional orchestras.  
>
> Actually, that might be an interesting question to ask the
> deejays on this list - what tango orchestras/music are
> dancers requesting?
>
>  
>   
>> Trini:
>> I recall, a few years ago ... Gustavo [ Naviera ] stopped
>> calling their
>> style "Nuevo" and simply called it "tango".
>>
>> Igor.
>> Yes, I have heard that too. Explanation? He started to
>> dance traditionally:
>> http://www.youtube.com/watch?v=e0Sjfo57BB8&NR
>>     
>
> That's a milonga, not tango.  
>
>  
>   
>> Trini, you live in our own world. Open your eyes!
>>     
>
>
> *laughs*  They are quite open, Igor.  But I listen a lot,
> research lots of different sources, and ask a lot of
> questions.  And I know what questions to ask and how to
> analyse the info (my field is marketing research).  So my
> observations have strong bases.  Your observations may be
> quite different in your part of the country.
>
> Happy tangos,
> Trini de Pittsburgh
>
>
>
>
> PATangoS - Pittsburgh Argentine Tango Society 
> Our Mission: To make Argentine Tango Pittsburgh's most popular social dance. 
> http://patangos.home.comcast.net/ 
>
>
>
>  
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>   