[Tango-L] Melina´s_DJing_Primer

[Shahrukh Merchant]

Hi Melina, I read the entire article finally just today, and it is in 
fact a very good primer on DJing. It is based on philosophies that I 
almost entirely share, and you did a good job in converting them into 
practical suggestions, which is always difficult, since it is trying to 
reduce a philosophy and experience into some "rules," which of course 
always ends up being an over-simplification to some extent. But it meets 
its objectives very well. I'd encourage you to post the entire article 
on Tango-L (copied and pasted in text format).

Some specific comments:

> Nothing is more
> disturbing than sudden computer crashes or a DJ who doesn´t know how his equipment
> works.

So true. In this sense (and often others too ...) the DJ is often 
under-appreciated. A DJ who manages to make people forget about his 
existence because he (a) has no "technical" problems since he is 
experienced and well-prepared and (b) allows people to immerse 
themselves in the music and the atmosphere to such an extent that they 
no longer are consciously aware of the SOURCE of the music (the DJ) has 
actually been wildly successful.

You reinforce this in your subsequent comment (which I wish more DJs 
would share, especially in their choice of music):

> The most important point last: we play music for people to dance, not to satisfy our own
> egos.


> It is very useful to group the music in tandas. A tanda contains 4-5 pieces of the same
> orchestra, preferably featuring the same singer, of a particular epoch and certainly expressing
> similar moods

I would state this more strongly (than "very useful") since aside from 
limited contexts like practicas, it's pretty much de rigueur these days 
in any community that has reached any meaningful level of maturity to 
play music in tandas at Milongas. And 5 is pretty rare--usually a 
mistake by the DJ I assume when it happens. I stick to four (generally 
even for milongas and valses, though many prefer three there, even in 
Buenos Aires--different discussion), unless the pieces are longer than 
usual and would make the tanda exceed 15 minutes or so.

> late Di Sarli with vocals

Hmm, I've had a prejudice against late Di Sarli with vocals (though I 
love the early Di Sarli with vocals). I should give them another listen. 
Any favourites of yours?

You suggest the following "partitioning" of the evening (warm-up, high 
point, etc). I agree with the concept. I tend to do some things 
differently, and here are my reasons why.

Your first phase:
> Warm-up phase with easily danceable music (Canaro, Caló, Demare, older Di Sarli
> (sexteto), other older orchestras). Many beginners arrive early and want to make use of the
> empty dance floor. This should be considered in your choice of music.

In general, OK, but I think a tanda or so of your "first high point" 
collection keeps the mood from being too "lackluster" and adding an 
occasional energy burst. D'Arienzo does tend to be popular with 
beginners also, and it's not just beginners who are there at the early 
stages.

Your second phase:
> First high point with rhythmic highlights (D’Arienzo, Biagi, Rodriguez, Orquesta Tipica
> Victor) and evergreens (Fresedo, Di Sarli with Podestá or Rufino).

I tend to reserve most of the "sweeter" music that you call evergreens 
for the end of the milonga (more on that below), but in general I'd agree.

Your third phase:
> Intermittent phase with alternately some easier music (D’Agostino, Donato, De Angelis,
> Tanturi) and maybe 1 or 2 experiments. During this phase and the next the more advanced
> couples will form the bulk of the dancers. They should be challenged by more sophisticated
> music.

Probably this is the most flexible part (and therefore hardest), where 
reading the crowd becomes most important. I tend to make the most 
changes to my preplanned strategy for the milonga at this stage. If you 
want to get people to stay as long as possible even though they may be 
tired (hopefully not bored!), the "crowd manipulation" needs to start at 
least by about this point and continue through to the end of the milonga.

Your fourth phase:
> The absolute high point with Pugliese tangos, late Di Sarli (with vocals, too), rousing valses
> or dramatic Biagi pieces. During the end-phase there should not be any experiments, people

By "high point" I assume you mean dramatic and/or emotional high point 
(vs. the time of peak attendance). I would tend to play the ones you 
mention TOWARDS the end but not the absolute end. My reason is that I 
feel that there needs to be a "relaxation" or winding down time after 
the "dramatic" high point. Certain Canaros, Fresedos, DiSarli/Rufino 
(some of which are dramatic in a different way, especially if you 
understand the words) and of course many others. The specific choice may 
depend on the DJ, but I think it's an important aspect of the ending 
phase of the milonga.

And another phase (admittedly not one that applies to the beginning DJ 
but should be stated for completeness): If the milonga does not have to 
close at its stated ending time, and people clearly want to (and can) 
stay longer, rules become largely irrelevant. One might call this the 
"End-Game Phase": get the people who are left to stay as long as they 
can and on the dance floor continuously (because if they stop they may 
realize how exhausted they are!).

> After the milonga officially ends guests like to hear some non-tangos...
> Nothing is worse than: music off, lights on,
> chairs up. A really cold shower after every tango dream. In Buenos Aires this is actually often
> done, but we don´t have to imitate every bad habit, do we?

I call this "music to change your shoes by." :-) Actually in most 
milongas in Buenos Aires, it's not really quite as jarring as you say, 
because they tend to continue to play Tango music until there are just a 
small number of people left. So really most people are leaving while 
Tango music is still playing, but it would be nice even for the last few 
couples to have at least one song to get used to the idea that the 
milonga has ended.

Thanks again for bringing the article to our attention.

Shahrukh