Boogie > Jump Blues > Rock n Roll

I was thinking about replacing some of my favourite 50s songs with earlier versions (when I DJ). eg Basie’s 50s Roll ‘Em Pete with this Joe Turner and Pete Johnson 1938 version. But this is too boogie, and not swing enough for lindy hop… or is it?
…this is related to my ongoing concern that I play too much jump blues.


linky

I often play the 1950s Joe Williams/Basie version(s), both live and recorded, because the boogie factor is pared back, and the bigger band setting gives it a proper swinging feeling. It’s super dooper fun…


linky

I also play this version with Big Joe Turner, because Big Joe Turner and Pete Johnson. I usually play the Basie if I want to transition from shouters to big band, or this one if I want to go the other way.


linky

…incidentally, the Hornsgatan Ramblers played a version of Jumpin The Blues (as sung wonderfully by Rikard Ekstrand) in Seoul, which was quite excellent. And they’re super old school nerds, so I’m a bit reassured.


linky

I have never played or even heard this Chuck Berry version of Roll ‘Em Pete before, but it does make the move from boogie to jump blues to rock n roll very clear.


linky

Patterns in behaviour: towards a discursive understanding of sexual harassment in dance

[note: this is a discussion that began as a fb post, then outgrew itself as I commented on my own post zillions of times.]

The list of people I’ve blocked on fb over the years correlates with the list of men who’ve been accused of sexual assault and harassment. This behaviour doesn’t happen in isolated incidents.

As R said on fb, “Scary stuff!”
…and yet kind of helpful. We can learn to identify the common traits of offenders.
This is one reason why we should be asking questions about events that don’t pay workers, don’t provide clear, written terms of employment/agreements, and don’t address other issues of equity and justice.

There is also often a correlation between exploiting workers (whether volunteers, paid employees, or contractors) and sexual harassment and assault. Which makes sense when you think of harassment and assault as being about power and control, instead of just being about sex (or even being about sex at all).
I’ve also noted that an insistence on not writing down terms and agreements also correlates with exploitation and harassment. If you don’t write down the terms of the agreement, then the worker (or the less powerful person in the relationship) can’t refer back to it to respond to questionable behaviour. It is much easier to gaslight someone (“It didn’t happen! You’re imagining it! You’re overreacting! It was just a joke!”) if you don’t have a clearly articulated list of what the job does and does not involve.

Incidentally, this is another reason why I actually explain what we define as sexual harassment in our code of conduct. So that people who just ‘have a feeling’ can follow up those ‘feelings’ with reference to a list of specific behaviours. When you have a list like this, and it’s in writing, and available to everyone, it’s much harder for someone to gaslight you, or pass off their behaviour as a ‘misunderstanding’.

I really like a code of conduct to be very specific.
And why I insist that people read it before they accept a job with me. If they read it, then we all know what’s on and what’s not on. And we remove that airy-fairy, amorphous confusion that benefits the people with social power (eg the power to physically intimidate).

A code of conduct is a way of empowering less powerful people. It gives them the tools to articulate their concerns, and to say, “Hey! STOP! I don’t like that!”

If you rely on ‘common sense’ or ‘the rule of law’ to determine how dancers treat each other, you assume that all parties have the same ‘common sense’ or the same understanding of the law and willingness to abide by this.
Which is obviously not the case.
In my case, I don’t think ‘the law’ actually does a good enough job of articulating behaviour I think is wrong or inappropriate. Nor does it deter men from offending.
And because dancers come from different cultures, different backgrounds, and share different values, we don’t have a ‘common’ sense of how we should treat each other. And it’s patently obvious that offenders do think it’s ok to harass and assault people.
So we need a clear outline of these values or sense or laws.

The truly terrifying thing is that I’m beginning to suspect that there’s a network of mutual protection between male offenders in the lindy hop scene.
As J said on fb, “I want so badly for you to be wrong about this…” Me too. But it’s logical. In many cases offenders don’t believe what they’re doing is wrong, so they don’t quash that behaviour in other men, and don’t manage their events to prevent it.

These thoughts were prompted by my going through my events for the rest of the year, and my DJing and traveling for next year. What are my limits as a punter and DJ. What events will I avoid? Do I need a written agreement and code of conduct to attend an event? If there is no explicit code, what sort of broader set of guidelines and strategies will I accept in substitute? If I do refuse to hire known offenders, how do I find out who these offenders are, if women are unwilling to publicise this knowledge, for fear of their own safety? And how do I develop the networks that can help provide this information?

All terribly cheering thoughts in this last, busy part of the dancing year.

international balboa dj

I DJed for balboa dancers at SBOSS Today. I really liked it.

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This is what I ended up playing. I was going to make a spotify list, but I couldn’t find the first two songs so I gave up.
I can’t remember if I played all those live Ella songs at the end or not – there was a request for some faster stuff to practice jamming to for Bal on the River next weekend.
Basically: I LOVED this set, because I got to play music I adore and love to listen to. It reminded me of Herrang.

Songs that failed: really just that live version of Rock A Bye Basie. It’s a bit shit.
Surprise win: Let Yourself Go (Bunny Berigan and his Boys). I love that song SO much. Dancers really dug it.
I was delighted by how much the dancers liked the stuff I really at the moment: the classic big band stuff. Seeing people dance to that Basie version of Honeysuckle Rose: solid gold.

It Ain’t Like That 1941 Una Mae Carlisle 190 2:30 Complete Jazz Series 1941 – 1944

Jack, I’m Mellow 1938 Trixie Smith acc. By Charlie Shavers, Sidney Bechet, Sammy Price, Teddy Bunn, Richard Fullbright, O’Neil Spencer 199 2:49 Charlie Shavers and The Blues Singers 1938-1939

Seven Come Eleven 2016 Michael Gamble and the Rhythm Serenaders 223 3:22 Michael Gamble and the Rhythm Serenaders

“C” Blues 1941 Barney Bigard and his Jazzopators (Ray Nance, Juan Tizol, Ben Webster, Harry Carney, Duke Ellington, Jimmy Blanton, Sonny Greer) 187 2:53 The Duke Ellington Centennial Edition: Complete RCA Victor Recordings (disc 12)

Feedin’ The Bean 1941 Count Basie and his Orchestra (Buck Clayton, Harry Edison, Al Killian, Ed Lewis, Ed Cuffee, Dan Minor, Dicky Wells, Earle Warren, Tab Smith, Don Byas, Coleman Hawkins, Buddy Tate, Jack Washington, Freddie Green, Walter Page, Jo Jones, Buster Harding) 178 3:15 Classic Coleman Hawkins Sessions 1922-1947 (Mosaic disc 06)

Honeysuckle Rose 1937 Count Basie and his Orchestra (Joe Keyes, Buck Clayton, Carl Smith, George Hunt, Dan Minor, Caughey Roberts, Jack Washington, Lester Young, Herschel Evans, Claude Williams, Walter Page, Jo Jones, Jimmy Rushing, Fletcher Henderson, Don Redman, Buster Smith 225 2:58 Classic 1936-1947 Count Basie And Lester Young Studio Sessions Mosaic (disc 02)

Don’t Tetch It! 1942 Una Mae Carlisle with Charlie Shavers, Buster Bailey, Russell Procope, Billy Kyle, John Kirby, O’Neil Spencer 191 2:21 Una Mae Carlisle: Complete Jazz Series 1941 – 1944

You Got to Give Me Some 2007 Midnight Serenaders (David Evans, Dee Settlemier, Doug Sammons, Garner Pruitt, Henry Bogdan, Pete Lampe) 187 4:02 Magnolia

Swing 39 2012 Ultrafox (Peter Baylor, Jon Delaney, Andy Baylor, Michael McQuaid, Julie O’Hara, Sebastien Girardot) 200 3:30 Chasing Shadows

One O’Clock Jump 1937 Count Basie and his Orchestra (Ed Lewis, Buck Clayton, Bobby Moore, George Hunt, Eddie Durham, Dan Minor, Earle Warren, Lester Young, Herschel Evans, Jack Washington, Freddie Green, Walter Page, Jo Jones, Jimmy Rushing, Skippy Martin, Buster Smith) 181 3:00 Classic 1936-1947 Count Basie And Lester Young Studio Sessions Mosaic (disc 02)

Date For Eight (1946) 1946 Billy Kyle’s Big Eight (Dick Vance, Trummy Young, Buster Bailey, Lem Davis, John Hardee, Billy Kyle, John Simmons, Buddy Rich) 218 3:00 The Complete H.R.S. Sessions (Mosaic disc 4)

The Girl I Left Behind Me 1941 Bob Wills 206 2:40 San Antonio Rose [disc 10]
Don’t Try Your Jive On Me 1938 Una Mae Carlisle with Dave Wilkins, Bertie King, Alan Ferguson, Len Harrison, Hymie Schneider 188 2:52 Una Mae Carlisle: Complete Jazz Series 1938 – 1941

Slidin’ & Glidin’ 2016 Michael Gamble and the Rhythm Serenaders 160 3:34 Michael Gamble and the Rhythm Serenaders

Let Yourself Go 1936 Bunny Berigan and his Boys (Chick Bullock (vcl), Bunny Berigan (tp), Bud Freeman, Forrest Crawford, Joe Bushkin, Eddie Condon, Mort Stulmaker, Dave Tough) 168 2:50 The Complete Brunswick, Parlophone and Vocalion Bunny Berigan Sessions (Mosaic disc 4)

Benny’s Bugle 1940 Benny Goodman Sextet (Cootie Williams, George Auld, Count Basie, Charlie Christian, Artie Bernstein, Harry Jaeger) 203 3:06 Charlie Christian: The Genius of The Electric Guitar (disc 2)

Big John’s Special 1934 Fletcher Henderson and his Orchestra (Henry ‘Red’ Allen, Buster Bailey, Ben Webster, Benny Carter) 204 2:52 Tidal Wave

C-Jam Blues 1949 Duke Ellington and his Orchestra 185 3:23 At The Hollywood Empire

Rattle And Roll 1945 Benny Goodman and his Orchestra (Johnny Best, Conrad Gozzo, Billy Butterfield, Bernie Privin, Kai Winding, Chauncey Welsch, Dick LeFave, Bill Shine, Gerry Sanfino, Stan Getz, Peanuts Hucko, Danny Bank, Mel Powell, Mike Bryan, Barney Spieler, Buddy Rich) 178 3:18 Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) (Mosaic disc 06)

Rock-A-Bye Basie Count Basie and his Orchestra 193 5:05 One O’Clock Jump2

Moten Swing 1944 Jay McShann’s Kansas City Stompers 192 2:57 Kansas City Blues 1944-1949 (Disc 1)

Lunceford Special 1939 Jimmie Lunceford and his Orchestra 235 2:52 Lunceford Special 1939-40

Jumpin’ at the Woodside 1939 Benny Goodman and his Orchestra (Ziggy Elman, Chris Griffin, Corky Cornelius, Bruce Squires, Red Ballard, Vernon Brown, Toots Mondello, Buff Estes, Jerry Jerome, Bus Bassey, Fletcher Henderson, Arnold Covey, Artie Bernstein, Nick Fatool) 248 3:02 Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) (Mosaic disc 01)

Air Mail Special (Good Enough To Keep) 1941 Benny Goodman Sextet (Cootie Williams, George Auld, Johnny Guarnieri, Charlie Christian, Artie Bernstein, Dave Tough) 230 3:23 Charlie Christian: The Genius of The Electric Guitar (disc 3)

Losers Weepers (Live) Tommy Dorsey & Bill Abernathy 181 5:42 Tommy Dorsey Plays Sweet & Hot (Live)

Twenty Four Hours a Day (Bonus Track) 2016 Michael Gamble and the Rhythm Serenaders 228 2:51 Michael Gamble and the Rhythm Serenaders

Doggin’ Around 1938 Count Basie and his Orchestra (Ed Lewis, Buck Clayton, Harry Edison, Bennie Morton, Eddie Durham, Dan Minor, Earle Warren, Lester Young, Herschel Evans, Jack Washington, Freddie Green, Walter Page, Jo Jones, Jimmy Rushing, Edgar Battle, Don Kirkpatrick) 256 2:58 Classic 1936-1947 Count Basie And Lester Young Studio Sessions Mosaic (disc 03)

Panassie Stomp 1938 Count Basie and his orchestra (Ed Lewis, Buck Clayton, Harry Edison, BEnnie Morton, Dicky Wells, Dan Minor, Earle Warren, Lester Young, Herschel Evans, Jack Washington, Freddie Green, Walter Page, Jo Jones, Helen Humes, Jimmy Rushing) 249 2:48 Classic 1936-1947 Count Basie And Lester Young Studio Sessions Mosaic (disc 04)

Stompin’ At The Savoy 1939 Ella Fitzgerald and her Famous Orchestra 226 2:55 Live At The Savoy – 1939-40

One O’Clock Jump 1939 Ella Fitzgerald and her Famous Orchestra 228 2:46 Live At The Savoy – 1939-40

Wrappin’ It Up (The Lindy Glide) 1934 Fletcher Henderson and his Orchestra (Henry ‘Red’ Allen, Buster Bailey, Ben Webster, Benny Carter) 208 2:42 Tidal Wave

Let’s Get Together 1934 Chick Webb and his Orchestra 209 3:05 Stomping At The Savoy (disc 1): Don’t Be That Way

Be a better DJ manager, Australia

Hello there. Seems it’s time for another reminder about working conditions for DJs in Australia. Particularly as event ticket prices are increasing, and DJ pay is not increasing at the same rate.

Here’s a tip: gender parity is often a result of good event management. So you’ll get the sisters if you run a good event and have a good reputation. BECAUSE the reasons women don’t DJ are structural and institutional, not individual.

If you are looking for gender parity in your DJing team, you will need to be sure your DJs are safe, your pay package fair, your working conditions just. If they’re not, women will avoid your event. Because omgicanteven.
And because women DJs face enough shit already. We don’t need the extra grief of DJing at a shitty event. Bro DJs get less hassle at dance events, so they’re more likely to volunteer for substandard events.

Here is my professional opinion, as an experienced event organiser and DJ. All of these things must be agreed upon in writing, well before the event.

RECRUITING DJS:
Have a clear vision for the musical program. If it’s a lindy hop event, get DJs who play classic swinging jazz. Do it right.

Do not do a ‘call for DJs’ for your event. This is not a casting call for some random chorus line spot. Nor are you some bullshit company running a competition for punters to ‘design your new logo!’ so you don’t have to pay a real designer. You are looking for talent to promote on your event program, so seek out the skill.

If you want good DJs to play your event, email those DJs directly. Woo them. Flatter them. Offer them a very attractive deal. Go above and beyond.

Hunt down new talent. Go to events. Ask DJs questions. Ask your interstate contacts about fresh young talent, for progress reports on newer DJs, for updates on older DJs.

Music should be your priority at a lindy hop event. So go out of your way to get the best DJs.
Then promote the buggery out of them. Brag that you got Reclusive DJ X to your event.

PAY:
– $30 per hour MINIMUM. This is a low rate.
DJs should be paid in cash on the night, before their first set, or at the end of their first set.
Or they should be paid by direct bank transfer by a specified date.
Or they should be paid in response to invoice by a specific date. They should never have to ask for the money.

– Band break DJs should be paid for the entire duration of the gig they are DJing, not just for the actual minutes they are playing.

– All DJs should receive free entry to the gig they are DJing.

– Use fewer DJs, and give all DJs a full free social pass to the event. Your event will suck if you use a heap of shitty DJs who have no skills, and you don’t give anyone a free pass. If you use fewer DJs and give them free passes, your event will be better.

MANAGEMENT:
– There should be a DJ coordinator, head DJ, or DJ manager, and they should be the DJs’ point of contact for the event. They should be available at all times during the event, and should reply promptly to emails before and after the event. They should provide the DJ with their agreement, terms, etc. All discussion with event management, musicians, sound crew, MCs, performers, and so on, should be mediated by this DJ manager.

– DJs should be given an agreement or contract before the weekend, which they should read and sign and return before the event. They should have adequate time to read and negotiate this contract.

– All DJs should be treated with respect by DJ managers: no shouting, no rudeness, no harassment, no bullying. All DJs should know who to speak to if they have difficulty with the DJ manager. And they should know this before the event.

SAFETY:
– DJ managers should ensure all DJs have a safe way to get home after an event.
– DJs should – as with all staff, contractors, and volunteers – know who to speak to if they feel unsafe, are harassed, injured, or in danger or injured. That person should be introduced to them, and the process explained, all in a quiet, calm place and manner.
– The sound set up should be safe, electronically and for hearing.
– The DJ does NOT set up the sound gear at a big event. EVER. Nor do they pack it down.
– DJs should not have to plug or unplug their own RCA cables to connect their laptop to the sound desk. There should be at least 2 cables ready at the desk at all times. Safety first, yo.
– The DJ must be behind the speakers, not in front of them, so their hearing isn’t damaged.
– There must be adequate heating or cooling. Both can serious issues at dance events. I’ve played gigs where it’s been so cold I couldn’t feel my fingers and couldn’t use the trackpad. I’ve played other gigs so hot and humid the trackpad didn’t work because I was so sweaty.
– There must be sufficient room behind the DJ booth/desk to sit and stand comfortably, and access to this area must be restricted to staff, or to the DJ’s friends with permission (so punters can’t just wander up and touch the DJ’s gear or hassle them).
– DJs must have a chair or stool to sit at the right height to DJ, but room to stand as well if necessary.

WORKING CONDITIONS:
A decent work space includes:
– adequate power outlets (which are safe) already set up
– a clear, flat, clean, safe area to setup a laptop, sound card, and various gear
– lighting (so they can see the dancers and gear properly)
– the DJs can see the dance floor well, from a raised platform, where dancers won’t bump their table (and damage gear)
– a copy of the event’s DJ schedule should be available in the booth
– DJs should know ahead of time (ie before the weekend, or at least before the shift) about all performances, snowballs, speeches, special stuff during their set. They should also be provided with a copy of performance music before the event. This music must be tested and of performance quality.

Let’s look at what’s happening around the Australian scene at the moment.

PAY:
At this point, $30 per hour + free entry to an event is standard. This includes band break DJing (which is often paid by the hour). This is not a good deal. It is in no way commensurate with the average rates for large events in Europe or America.

CONDITIONS:
– many events do not provide RCA cables already set up for DJs
– booths are frequently in front of speakers, where DJs can acquire industrial deafness
– many events do not have anything more than a basic code of conduct; they do not have clear emergency or safety procedures
– djs are not made aware of the event’s code of conduct, safety measures, or what to do in an emergency, or if they are harassed, feel unsafe, are injured, or endangered
– the dj gear is set up by inexperienced amateurs, who do not take proper sound and general safety precautions
– djs are often left to tidy up or close an event
– djs are doing more than just playing music during competitions
– djs are not given free event passes. They are offered unfair ‘deals’ on passes, or asked to choose between a combination of cash pay, free entry to some parties, or passes.

…and so on.

Breaking down the average existing pay rate:
If an event has only DJed music for 4 days, over 3 evening and 2 late night parties (ie 72 hours), with DJs paid at $30 per hour, that’s $2160 all up for DJ pay. Plus entry to that for a DJ team of about 15 DJs.
If an event has (as is more usual) one DJed night (4 hours), 5 band events (3 evening and 2 late nights), then they will need 10 DJ shifts (2 x 2 hours on Thurs; 1 x 4 hours, 2 x 2 hours on Fri, 1 x 4 hours, 2 x 2 hours on Sat, 2 x 2 hours on Sun). That’s 24 hours (give or take some) @ $30 = $720.
Get 4 DJs maximum to cover those shifts, and that’s 4 full social passes @ $120 = $480.

One band is paid $1500 on average for a 4 hour gig in Sydney. Each musician is paid about $250 each, plus a cut for the band leader.
The bands for this weekend would cost $7500 (usually a bit less if they work some good deals). Sound gear and engineer will cost them $4000 at top rate (usually less if they work a deal).
The basics of a weekend music budget, then, will cost $11850. 6 riders for bands and DJs @ $100 each (I just lump band break DJs in with bands for riders), and that’s $600 (which is more than you’d probably spend). That’s $12805, at the outside. The DJs are $1200 of that. Less than one band.

The value of a good DJ:
All those DJs are also dancers, often very good, experienced dancers, dancers who come with their friends to events (so for each DJ, add at least one punter you know will definitely come, and a handful of others who’ll come because your DJ talked about your event to them in person. Solid gold word of mouth PR). A good DJ is a draw in their own right. People (meaning more experienced dancers who care about music) will come to a gig if they know DJ X is playing. If DJ X also has a reputation for being associated with good music and good events, then that’s even more good PR for your event. Yes, there are plenty of dancers who don’t care about the DJs or bands on the program. But they are only part of the available market. You do want those more experienced dancers, because they have stamina, they give good photo, they bring energy to a party, and they’re another little part of the market to tap into with your event.

As you can see, underpaying and exploiting DJs is one way for dodgy events to cut their costs. Or is it?
Poor working conditions and pay make DJs shitty, and make good DJs avoid your event. Shitty DJs make for shitty dancing. That means you don’t get any good videos of good dancing to help you promote your event. Particularly if you have a shitty DJ DJing your competitions or other high-traffic events.
Shitty DJs give your event a shitty reputation. Neither of which is good business sense.

Another, very important aspect of hiring good DJs, is that you’re hiring an experienced professional. A person you can just trust to get on and do the job. You know that having a full floor is just a baseline. You know they’ll be able to run your dancers ragged, keeping the floor full, and your dancers full of strong feels and crazy dance CRAZY. Which they document like ranting nuts on facebook, document in photos, document in video. And talk about. Everywhere. Word. Of. Mouth. Gold.
Incidentally (and more importantly), a ‘good DJ’ is nice to work with. So your job as an organiser is easier. PHEW.

Let’s talk about band breaks.
When a DJ is doing band breaks, they are effectively working for the entire night, not just those minute they are actually playing music. A band break DJ is also:
– meeting and working with the sound engineer
– meeting and working with the band leader, watching them to be sure they are ready to go when the band finishes or starts
– meeting and working with the DJ coordinator, event manager, various performers, etc
– working with the band’s style so they don’t play the exact same type of music, or clash too much with that style
– they also need to avoid playing the same songs on the band’s set list. Which means coaxing a set list out of the band before the gig (good luck with that) or noting every song the band plays during their set (enjoy focussing on your dancing, DJ)

A reasonable (yet still not equitable or internationally standard) pay rate is:
– free entry for all parties (a measly $120 on average)
– pay per hour
– drinks and snacks
To make this cost effective for organisers, we should hire fewer, better DJs.

What is a top rate DJ deal for a big European (eg Herrang or Snowball) or American event which has about 1000 dancers in house during the event?
– free airport transfers (eg taxi to and from the airport to the venue)
– free flights for A rank DJs
– free food for the entire event
– pay per hour (this varies)
– full free pass for all parties and workshops for the duration of employment
– accommodation (hotel room, often shared)
– accommodation for partner (eg husband or wife)
– child care assistance
– free wifi
– office space/chill space (essential for working DJs at big events)

Additionally, their working space (the DJ booth) is set up by a professional sound engineer, who is also available at all times for repairs or assistance.

The ‘work space stuff’ is just basic amenities. Remember that DJs are working from anywhere between 1 and 4 hours at a stretch without a break.
They payment package obviously applies to the top rank events, and is less for smaller events.
A 300 person event is a moderately small event.

DJs also receive a contract or agreement, which sets out the terms of the gig (including all the above). This is sent to the DJ well before the event, signed by both parties, and agreed on. DJs are able to negotiate terms if necessary.

Finally, a word about good DJ managers:
If you want a good team of DJs who do good work, you’ll need someone to keep an eye on them. Someone to protect their interests, get the best possible work out them, keep them happy, and serve you up a good load of great music and happy dancers. So organisers need to look after their DJ managers. They need to hire good people-person type managers. They need to hire experienced dancers or DJs to be their DJ managers: head DJs is a term that means something here.

So DJ managers should have their own agreements and pay packages. They should also be happy, safe, and healthy, enjoying their job and doing good work.

…so, in sum, equity makes good business sense, and is economically as well as socially sustainable.

Amplification

“Female staffers adopted a meeting strategy they called “amplification”: When a woman made a key point, other women would repeat it, giving credit to its author. This forced the men in the room to recognize the contribution — and denied them the chance to claim the idea as their own.”

From Claire Landsbaum’s piece Obama’s Female Staffers Came Up With a Genius Strategy to Make Sure Their Voices Were Heard.

I’m quite surprised by how common it is to be edged out of conversations when I’m hanging with some DJbros or some jazzbros. As you can imagine, I’m not the quietest person in a conversation, and I’m usually reminding myself to let other people talk too. But there are definitely bros who aren’t interested in anything a woman has to say. Just because she isn’t a man.

My usual solution is to just walk away and find someone more interesting to talk to. While these women couldn’t really walk away from these bros if they wanted in to the power, we can in the jazz dance world. And if I want jazzbros (particularly musician jazzbros) to pay attention, I change my mode of interaction. All those years hanging out with punker musician bros and academic bros in my 20s has skilled me up.

But honestly. Bros. How dull.

Co-DJing in Herräng

I don’t often co-DJ, but when I do, I choose the finest woman DJ the Netherlands have to offer. Superheidi is a most excellent DJ and good DJ buddy, and this set was excellent fun. Note how we problem solve together, we drink tea together, we brag about our full floors together. Huzzah!

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djing

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[edit: photo credits to Superheidi, who made DJ Anton take the photos. DJ team win.]

Team DJ Herräng 2016

Once again, I’m writing a post that’s meant to be short, but will no doubt be enormous.

This summer I was a staff DJ at Herräng Dance Camp for week 3 of the 5 week camp. You can read about Herräng in this post.

djing in herrang 2016
Me DJing Thursday in week 3, with a massively crowded floor.

Herräng uses staff DJs and volunteer/guest DJs for music each night on its three (or occasionally more) dance floors. There are also unofficial official staff DJs who provide music for the special themed Midnight Ramble parties in the library. Staff DJs are provided with a pretty good renumeration package (which I can’t go into online because confidentiality, but can discuss in person), and guest DJs are given free entry to the night they DJ.

Staff DJs’ duties include:

  • Regular meetings about DJing;
  • DJing every night for 7 days, at any time between 10pm and 11am the following day;
  • DJing in blocks of at least 2 hours at a time;
  • DJing to the Herräng music brief;
  • Being available for other themed or special sets (eg early RnB, shared sets, competitions, taxi dances, shows, band breaks, afternoon dances, etc);
  • DJing for lindy hop, balboa, slow drag, boogie woogie and solo dance.

And usually a few other random things are expected of you (eg dropping in to meetings or talks about DJing and music, mentoring or riding shot gun on newer DJs’ sets, being ‘around’ and participating in camp life).

All of this is most excellent fun, very fulfilling, but quite tiring. It is definitely a full time job. And the role requires professionalism (being on time, having all the gear, being good to work with), practical skills (knowing how to work a mixing desk, how to DJ comps or special dances, mic skills, can keep the floor not only full but exciting and interesting for several hours), and a solid musical collection.
All the DJs I’ve worked with at Herräng have extensive music collections (far beyond the lindy hopping ‘favourites’), and devote hours each week to preparing sets and making sure they have an idea of what they might play. This preparation is a continual response to what’s happening in camp, the music they hear each night, the bands playing each night, and the general mood or vibe of the event.
And all the staff DJs also have a creative instinct that makes them suggest ideas for special sets, shared sets, or just general party ideas.

Volunteer or Guest DJs have a different job.
They are booked on a per-set basis, doing one set at a time, usually for one to two hours only, and may not be asked to DJ again during their stay. They must also play to the Herräng music brief, and submit previous set lists. The usual professionalism and practical skills are required. Most of the guest DJs are also then recommended or vetted by an experienced DJ or dancer.
Basically, you can’t just walk in and ask to DJ then score a spot. This is as per normal for any large, reputable event.

The Midnight Ramble DJs have a different role again. They usually have very specialised collections and/or skill sets. eg they may DJ an early RnB set, a latin set, or a slow drag set. This means that they have extensive collections of these types of music, and special skills. They’re often DJs who use vinyl or shellac, and are vastly experienced, working with the particular demands of this themed room/party.

All Herräng DJs are managed by the DJ managers. This year and last, the managerial role was shared by two very experienced DJs who also have a lot of experience with Herräng. This year we were lucky enough to have Meghan Gilmore (Canada) and Jonas Larsson (Sweden) as our managers.
Each day the managers liaise with the various stage managers, event managers, and other Herräng staff to put together a program of DJed music on three (or more) dance floors that begins at 10pm and can end as late as the first class in the folkletshus ballroom (ie 11am or later). This program juggles live performances by bands and other acts, the evening meeting, the demands of particular parties (eg Midnight Rambles, the beginner hour, balboa nights and so on), and each DJs’ skills, preferences, and workload. There are frequently last minute changes to the program, and both managers and DJs need to be able to respond enthusiastically, calmly, and competently to changes.

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Meghan Gilmore, DJ boss.
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Jonas Larsson, DJ boss.

Meghan and Jonas were the best DJ managers I’ve ever worked with, in ten years of DJing. They were calm, professional, and very excellent company. They know HEAPS about music, are very experienced DJs, and were just wonderful to work with. I felt that they really had my back and were supporting me at all times. Even when my laptop died on day 1 of my contract, they were right there holding my hand. Or at least sending me comforting fb messages. They also knew how to lead, and how to put the breaks on madcap schemes that were a little too madcap. DJs can be quite headstrong and a little too sure of themselves (and their schemes) sometimes, and both Meghan and Jonas were very good at curbing in some of the less sensible scheming. Which I think is very important. I want to know my DJ managers have limits and a clear sense of what they want, and what is achievable, so that I can just go ahead and be full-on DJ nut, knowing they’ll say No when No needs to be said.

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Week 3 Staff DJs, from left to right: Jonas Olsson (Denmark), Jonas Larsson (Sweden), Anton Cervin (Sweden), Meghan Gilmore (Canada), International DJ Sam carroll, Heidi van der Wijk (Netherlands).

Meghan and Jonas also put quite a bit of work into developing a sense of team camaraderie. They provided a comfortable office close to other Herräng staff offices, so that we could both have a place to store our stuff and work quietly, and also meet and mix with other staff. We found our office was often a popular place for unofficial catch-ups and socialising by other staff. Not as rowdy as other offices, not as full-on as other offices. The fact that there was always a stack of records or someone wanting an opinion on a particular song was only a bonus for camp where pretty much everyone is music obsessed.
We also had a couple of organised dinners and DJ-friendly parties/catch ups, which were very nice. I found that this team of DJs gelled particularly well. I adore them all, and I miss them SO much. I loved their music, I loved their commitment to DJing, but I also really liked their ‘let’s have FUN!’ approach to dancing and DJing. And they made me laugh like a fool, so many times. Having a good, solid team of buddies around me really made the long hours and challenges of staff DJing easier. And I learnt a LOT about music and DJing from them all. It was really lovely to be part of this group.

This year the DJing at Herräng was particularly good. Jonas and Meghan had worked hard to find DJs beyond the usual subjects. They found DJs from all over the world, who were both excellent DJs, and had excellent taste in music. And, incidentally, they had gender parity in weeks 2,3,4, and 5 of the 6 weeks of the camp. This is very unusual in the lindy hopping world, and the consequences were very interesting. Things I thought this gave us, as dancers:

    • A wider range of DJs, people I’d never heard before, and who had interesting, new ways of thinking about DJing;
    • A wider range of DJing styles and musical collections;
    • Better music for dancing;
    • A much more interesting and fun working environment: this wasn’t a DJ Bro team. It was a diverse, interesting group of people who worked fucking hard, valued great music, but could work a crowd like fucking ROCKstars;
        As a whole, two of the clearer consequences were crowded, crazy dance floors, and crowds who stayed up much later dancing. As a DJ and dancer, I found myself spending more time hanging around the DJ booth listening to the DJs who were working, or sitting next to them listening to them work. It was very exciting, and the BEST fun.

Who was on staff in Herräng this year?
Week 1:
Ralph Hueur(Boogie) [Germany], Felix Berghäll (Boogie) [Sweden], Philippe Crompton-Roberts [Hong Kong], Jon Tigert [USA]
Week 2:
Christina Loukaki [Greece], Jon Tigert [USA], Arnas Razgūnas [Lithuania], Leru [ Russia/China],
Week 3:
Sam Carroll [Australia], Heidi Van Der Wijk [ Netherlands], Anton Cervin [Sweden], Jonas Olsson [Denmark]
Week 4:
Birkley Wisniewski [Canada], Helena Martins [Brazil], Laura Spencer [USA/Germany], Dan Repsch [USA]
Week 5:
Kris Bauwens [Belgium], Susanne Kenross [Sweden], Haerim Kim [South Korea], Sage Min [ South Korea]
Featured Guest DJs:
Frida Häggström (week 1 to 5), Big Papa Mac (week 1 to 3), Natty Bo (July 20 and 21), Stephan Wuthe (week 3 and 5)

Guest/volunteer DJs included:
Arnas, Pontus ?, Philippe, Jonas Olsson, Sam Carroll, Alexey Kazannov, Felix, Miroslav Mironov, James Pack, Olov ?, Vasily Muravyev, Olga Moiseeva, Jon Tigert, Nathan ?, Skye Humphries, Gaston Fernandez, Veit, Rasmus, Daphna Harel, Soo chan Lee, Leo Newman, Ramona Staffeld, Ingrid ?, Naomi Uyama.
As you can see, some of the staff DJs also did some volunteer DJing. For me, it was in week 2 so I could get rid of some nerves and settle down to DJing. People like Jon T just have mad skills and love DJing. People like Olga are THE BEST.

I have to pause and rave about a couple of those volunteer DJs. Olga Moiseeva from Moscow (now based in Brussells). WOW. Just the best. She has mad skills. And has also been a key player in Moscow becoming the historically grounded, fun-centred lindy hop scene it is today. Vasily Muravyev, also Russian, still based in Moscow, has been one of those people who DJs regularly at home, and SHOULD have been DJing at bigger events like Herräng, but just needed a bit of a push to get into it. Gaston is of course, an experienced, fantastic DJ, and one of my favourites. Other DJs in this list did some lovely work too. I didn’t hear any shithouse DJing. Which is a testament to Meghan and Jonas’ hard work and carefully vetting of DJs.

But my favourite was Naomi Uyama. Yes. That Naomi. Sure, she’s a grand lindy hopper. We know that. I reviewed her band’s first album in this post and did a follow up post here.
It should surprise no one that such a talented band leader is also a fantastic DJ. But, having said that, there are a few band leaders who are also DJs, but not terribly awesome DJs.
What made her so good? 1) Song choices. Familiar, unusual, all awesome, 2) The way she put them together.
Shit. She is just such a fucking great DJ.

In sum, my picks for a superhot DJ team from Herräng’s guest DJ team would include Olga, Naomi, Frida Häggström, Vasily, and probably John Tigert. John is an interesting one, as at first glance he seems a bit of a cowboy, prone to showing off. But I’ve found over the last couple of years that I’ve ended up sitting next to him while he DJs a few times. Because he’s such a thoughtful, inspired DJ. He kind of settles into the job, focussing on the dancers, with a really good feel for what they feel, and then making good, solid, creative songs choices to work with those feels. Frida is kind of intimidating, as she’s quite reserved, but you shouldn’t let that stop you getting to know her, and her DJing. She can basically do anything. Anything old, and anything fucking GOOD. I once danced like a crazy fool to a 20s dance band set she did in the library. Not something I’d usually dig, but mate. She has SKILLS. And an unparalleled collection. Get to know her, and get to know her collection: she is A1.
I’d also make sure you had Arnas from Lithuania on that team. He’s fun, and he makes a very good coffee. He’s also a skilled DJ, who is prone to DJ cowboyism. But it always pays off.

I could go on and on and on about the DJs from Herräng this year that I loved. Heidi from Rotterdam: what a fucking gun. Tireless, fearless, fierce. Excellent. Anton and Jonas, Jonas and Meghan. Really, the very best.

Such most excellent fun. Did enjoy. Would do again.