I’m trying and trying to think of a way to talk about MLX. But I can’t. I’m sorry, I’m getting emotional. Mostly because you can’t hug every DJ. No matter how much you love them.
Right here, I need to make clear my association with the Melbourne Lindy Exchange. I was involved with the very first one in 2001 as a basic volunteer, doing the usual volunteer stooge sort of stuff. That year was the first year a major weekend event with a proper social program was held in Australia. It also featured workshops. In 2002 I was on the organising committee and played a big role in managing the event over the weekend. In 2003 I took a break. In 2004 MLX coincided with Swing City and was huge. It was also the most expensive event in the country at that time.
In 2005 a team made up of previous years’ organisers formed a nonprofit organisation (the MJDA) to run the event, and ran MLX as an all-social weekend. That was the cheapest full pass event in Australia at the time. I was on that team. As the weekend proceeded, numbers at each event increased massively, as locals who hadn’t bought passes were told by their friends that shit was hot, and the interstate visitor numbers were bolstered. In 2006 the same team ran the event, and we consciously decided to step things up in a big way. Two rooms at the late nights. Masses of bands. Serious promotion. The full pass was still ridiculously cheap. Crazy cheap. I think we doubled the pass sales. 2007 was a similar story. It was just nuts.
(a jam at MLX9, while I was DJing!)
Each year the attendee numbers increased massively. The event was run with the clear goals of being cheap and accessible for all dancers, yet also financially sustainable. I was involved because it was a nonprofit organisation, and because it is still stupidly cheap. It has a clear and firm policy of treating all volunteers really well, and the events themselves are very high quality. In 2008 I moved to Sydney and reduced my involvement to just finishing off coordinating the DJs. In 2009 I went to MLX as a punter and DJ and it was GREAT FUN. Same in 2010. BEST FUN EVER. I thoroughly recommend taking time off running your event to just attend as a punter. It makes you realise just how awesome it is, and it gives you a chance to actually enjoy the thing. This year I coordinated DJs for MLX11 and was blown away by just how tight and professional an event it is.
If you asked me whether I’d rather be involved with MLX as an organiser or as a punter/DJ, I’d be hard put choosing. I love going to it just as a punter because it’s an intense weekend in a great city, and total fun just to bum around at. But I also enjoyed working on the event this year because it’s such a big, interesting project. I think I’d be happy with either in the future. Maybe even prefer just DJing/puntering a bit, so I could really focus on DJing and dancing? Argh! What a choice to have to make!
So when I write about MLX, I’m a little biased. But my experience with the event over eleven years has varied so much, and I really feel now that I’m a contractor rather than a part of the core team, so I reckon I can write about it with some objectivity. Who am I kidding. But my love for MLX stems largely from its ethical intentions, its sheer quality as an event and its willingness to try new things and really set an example for other events in terms of music, working conditions for all involved and fiscal responsibility. It rocks.
Basically, MLX11 was the best event I’ve been to in Australia, ever. I’ve never been to an event with such a brilliant list of bands. Every single one was top shelf. And THEN, they ranged across all the best lindy hopping styles. Everything from hot early 30s medium sized band to juicy groovy hammond organ small group win. An 18 piece classic big band (from Perth!) doing arrangements so neat and performing them so well that I kept mistaking the band for the DJ. A chunky little swinging combo doing the sort of solid swinging powergroove/40s/50s swing that makes for brilliant lindy hop. A tight little late night band (from Perth!) made of dancers with a fun female vocalist that was actually really good. There were five bands, and they were all really, really good. I just couldn’t believe how good they were. I’ve never seen an Australian event with such consistently good and appropriate live music. Ever.
Then there were the DJs. I got to organise the DJs for MLX this year, so I able to put together a sampling of the strongest DJs I’d seen during the year (this is one of the reasons I travel a bit to dance events – so I can see who’s DJing, what they’re into, how popular they are with dancers) set them up in good time slots fun combinations, then just let them do their thing. That meant I was hearing my favourite sorts of music. But then things got BETTER! I couldn’t really get over just how GOOD all the DJs were. They’re all specialists in particular musical areas (including old scratchies, modern hot jazz bands, supergroove, chunky blues, classic big band swing), and I’d sort of set them up to do their sets expecting them to do X or Y or whatever it was I associated them with, musically. But EACH of them then managed their sets in the cleverest way, moving between styles and across genres to respond to the crowd’s interest, enthusiasm and stamina. It was just fucking magic. On Saturday night the main lindy hop room was still jammed with people lindy hopping at all the tempos at 5am! Even I was still in there dancing like a fool, and I was BUGGERED! I heard good reports from dancers all weekend, and I’m still getting emails and comments from people about the music. I just don’t think dancers could really get their heads around the quality of the music. I know I’m still kind of amazed. And I’m such a picky bastard, it’s very difficult to please me with every set.
The DJs at MLX11 included (in no particular order): Andy Fodor (Melb), Manon van Pagee (Melb), Trev Hutchison (Perth), Jarryd Reynolds (Adelaide), Matt Greenwood (Bris), Kenny Nelson (Colorado), Noni Mae Clarke (Melb), Sharon Callaghan (Melb), Keith Hsuan and me (Sam Carroll, Syd). The hardest part of coordinating DJs is knocking people back, and MLX is the highlight of the Australian DJing calendar, so lots of DJs look for sets at the event. It breaks my heart having to tell people the program is full, or that we’re looking for a specific type of DJ this year. There are still DJs that I’d like to add to a program like that, but we’d really reached maximum capacity this year. The program over all had a lot of live music – 1 band Friday evening, 2 Saturday evening/late night, 2 Sunday evening/late night – and this was GREAT. But it made for less DJing space. I was delighted, though, absolutely delighted by the way the DJs complemented the live music. It’s not often that I squee over a band break DJ’s work, but this MLX each of the band break DJs did really amazing jobs complementing, but not overshadowing the bands. It’s a tricky gig, and you’re really working all night, not just for the short blocks you’re playing music. There are performances, speeches, welcome dances and random interruptions to deal with during band break sets, as well as trying to avoid playing songs from the band’s set list. But these guys were guns.
MLX is generally the best social dancing weekend in the calendar, if you’re into hardcore dancing, but this year far outshone previous years. All through the weekend late night events ran over time. Main lindy hop rooms that usually finish at 4am were still pumping at 5.30am. Blues rooms just kept working and working. The Sunday didn’t end til 6am or something stupid. The venues were just right, the sound set ups were good, the provision of food and drink was important and done well, and the volunteers were cheery and well organised. All this, and MLX is a NONPROFIT event run by a team of volunteer coordinators. A committee. Anyone who’s ever worked on a dance event or on a committee knows just how difficult it is to get things done with a committee. Yet MLX consistently produces the best event in Australia. Every. Single. Year. I thought MSF was giving it a run for its money this year, but MLX pwnd all.
I like MLX because it’s just social dancing, and it tends to encourage random or crazy shenanigans. But not stupid shenanigans that make you cranky because they’re stopping you dancing. Fun shenanigans. I saw quite a few random costumes this weekend (my favourite was perhaps a bloke in a Black Swan costume for the Saturday dance), and I really liked the way the MLX theme (played to introduce the speeches and announcements) was, by the end of the weekend, met with loud singing-along and cheers, particularly as the MC Jarrod began initiating his speeches with some truly inspired interpretive dance. The theme was matched to the MLX theme – Turning it up to 11. I love this theme because it’s totally unrelated to lindy hop, it’s a bit lame (in a big hair way), and it also turned out to be totally fun to dress up for.
I think it’s worth talking a bit about why MLX is such good fun to DJ, and why it manages to get such brilliant sets from the DJs.
- Firstly, MLX doesn’t stint on sound gear. We did have some problems on Thursday night this year, but that’s because we were using a gorgeous little hall with very high ceilings and lots of hard, bouncy surfaces. It was a lovely space, but it did make for weird acoustics with recorded music. But the team helped us fix stuff up as much as possible (I was DJing that night and did struggle a bit at first). Otherwise, every venue had the right amount of amplification, a good quality mixer and a good, comfortable space for the DJ to set up with the right lighting. I know that when I DJ MLX I can play any song, no matter how old or scratchy, because the sound gear will make it sound sweet. So I DJ to the limits of my collection, rather than playing it safe.
- MLX treats DJs with lots of respect. DJs are introduced, back-announced, regularly cheered mentioned in speeches and listed all over the website. This year I made up a basic ‘Program of DJed music’ and put it up around the place so people could see who was on where and what they were doing in their sets, and it worked really well. The MLX peeps are also quick to buy DJs drinks and check in on them regularly to see if everything’s ok.
- MLX pays DJs well, better than any other event in Australia, and gives them free entry to the events they work. There are still Australian events which don’t give DJs free entry to the events they’re DJing, and this makes me FURIOUS. I think it shows how little music is valued, and how little understanding these event coordinators have of the work that goes into DJing. Sure, I think live music is more important, but DJs do actually fill out the bulk of most Australian dancing weekends. And at events where the bands can be quite dodgy, the DJs extra important. Personally, I won’t DJ an event that doesn’t give me free entry, because when I’m DJing, I’m working. I’m also loathe to do gigs where I don’t get paid. My exceptions are for new or nonprofit or charity events, or for my best buddies (ie my really close personal friends) or for house parties. Really, I do so much DJing these days, and I like social dancing so much, I need an incentive to bring my laptop and work for a few hours at a social event. But MLX pays more than other events, and has recently introduced a blanket pay rate for band breaks, which recognises the amount of work band break DJs do, and which no other event does. DJs are also paid for any extra DJing they do beyond their rostered sets. DJs are also paid for the full length of their rostered sets, even if that set has to be cut short. Well done MLX!
- MLX plans the DJing slots carefully and effectively. Set start and finish times are staggered, so that DJs can be properly introduced. Sets are at least an hour and a half long (unless there’s something difficult to work around), if not longer. The only challenge with MLX DJs is that they all love social dancing so much I had to stop myself pushing them to do more sets when I was planning the roster!
- Probably the best part of DJing at MLX is that they have a creative and innovative approach to programming DJs and events. They’re willing to try new things. Sometimes these new things don’t work out, but most of the time they do. The B-Sides room a few years ago was super popular, and allowed for an alternative to the main lindy hopping room. The B-Sides room was just that – a BSide, where DJs could play whatever they liked and not be constrained by rules bout ‘what’s good for lindy hop’. It was a massively popular room, and has only been replaced in the last few years because hardcore blues dancing has been so incredibly popular. While DJs in the main room are encouraged to experiment with themes, most of them end up doing straight ahead, unthemed sets simply because MLX is such prime lindy hop DJing. DJs don’t need a theme to spice things up for themselves, and just want to PLAY ALL THE THINGS.
To sum up, then, I really enjoyed coordinating DJs for MLX because it allowed me to pick a team of awesome DJs, treat them really well, and set them up to do just do their thing. And they DID that thing. I love DJing at MLX because I know it will be the BEST DJing experience of the year. I’ll be able to play all the stuff I love but might not play at home. MLX brings the fittest, most adventurous, open-minded dancers to the floor, and they’re all willing to just give things a go, even if a song is faster or unfamiliar. And I don’t think it’s just the experienced dancers who are like this at MLX. I see newer dancers getting out there and giving it a go. The event really feels like a good place to try new stuff. And, hopefully, people go home to their scenes as inspired and enthusiastic about dancing as I am right now.
