I believe that today it is possible to divide the dee jays into four categories:
1) fans of this music. People who collect vinyl records and CDs, as driven by a deep interest not only to the sauce but also to the culture that it conveys.
2) the many Hispanics who live in our country, some of them climbed on the console just to propose that music that brings them closer to its origins
3) those many boys from simple dancers, driven by the enthusiasm and the desire to experiment (sometimes at the request of their own masters, transformed into organizers) have become, over time, deejays.
4) DJs by profession, who until recently worked in trendy nightclubs and that today are in salsa an interesting job opportunities.
Therefore while dee jay of the old guard will try to vary their musical proposal, those who have known only sauce into the new Millennium once up in the console will be children of their times. They will have as a consequence a mindset closer to the world of nightclubs.
Hence the need to put new songs or quite recent (perhaps covers of old hits), mix the sauce (something that in their countries of origin, no one does), to alter the speed of the songs for proposing a lineup that never changes from night to night, but that if anything changes from month to month.
At this point we would have to ask the many dee jays today on field
1) what motivates you to program a certain type of music rather than another?
The sauce is a timeless music but it is evident that for many dee jays is not always the case. Many of them focus on a particular historical period. Here in Rome, for example, most of dee jay focuses its lineup only on musical productions releases after 2000, considering that before a music now old, dated.
In parallel, there are some dee jay you are specializing on salsa vieja, though a boycott of some all music produced in successive vintages (whether cubana, Puerto Rican, Colombian, Dominican, Venezuelan or nuyorican).
2) put music in perfect autonomy, or is the audience, if not exactly local managers, to condition you?
3) The dee jay should just entertain people or do even a healthy musical disclosure?
The history of salsa is dotted with some classics that every Latin American knows by heart but that many Italians don't know at all. Put the rarity, it's certainly not something regrettable in itself but would wonder: Why put the superfluous when we still need necessary? And I say this thinking to some unknown songs that continue to propose dee jay band dear salseras/os around and maybe none of those orchestras that have shaped the history of salsa.
What is afraid to be too trivial or too little sought after?
4) the presence of schools and dancers with different styles complicates the work of dee jay?
The feeling I have is that we have now arrived at levels of intolerance that were unimaginable until a few years ago. So if you only put 50%, if timba dances put salsa the other 50%.
Other dee jay then insist on putting tracks by salsaton or timbaton but the same places of origin have never had this great success. A recent survey shows that only 8% of the public Italian like salsaton. So why insist? Just because you're forced to put no news? ….
5) as it should be the ideal lineup for an evening salsera?
6) Used a playlist or any evening you change your lineup?
Although the salsa music that gives you endless possibilities of choice, most of dee jay usually has a fixed ladder.
We put that in an evening a dee jay program 50 songs. Well from an evening at the other, 30 songs are always the same (almost a play list) may vary at most twenty tracks.
Wouldn't it be better to put every time at least 40 different songs and keep in the lineup just the ten most beloved by the public at that time?
Where is it written that the public does not appreciate each time a different ladder?
7) is it possible to reconcile the different musical extremism?
The solution, in my opinion, is to find a type of music that can be danced in any style, without excessive complications.
I mean that if you put "Sonido Bestial" by Richie Ray and Bobby Cruz, only a part of the audience to dance. If you put the Charanga Habanera "Gozando en Miami" just another part of the audience to dance. If you put instead "If acabò el bembé Mario Ortiz" & Ismael Miranda, or "Mi musica" of Havana de Primera, all will dance without any difficulties and without sacrificing quality.
It is here, in my opinion, who takes over the ability and skill of the dee jay who, as expert, must be able to assess the danceability of a song, without being influenced by the masters or the noisy minorities …
By Nathan Chan