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    • My friend Billy and I attended a discussion between Daniel Joseph Martinez and David Levi-Strauss Wednesday night at the Whitney Museum of American Art. This year Martinez has been included in...

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  • Clubs

    Time Out New York / Issue 653 : Apr 2–8, 2008

    Pickin’ and spinnin’

    Clubland czars discuss the art of DJ selection.

    By Bruce Tantum

    UP IN ARMS Raise your hand if you’re in favor of Studio B’s booking policy.
    Photograph: Collin Lafleche

    Anybody who regularly goes out to clubs has probably at one point wondered: How the hell did that DJ get a gig at this place? While the decision-making process regarding who plays where is not nearly as rigorous as what paintings are hung at MoMA or what opera gets to the Met’s stage—clubland is a place that operates more by intuition than calculation—there is a bit of method to the madness.

    According to Justin Carter, the musical director at the DJ-oriented lounge APT, “Deciding who plays in a club is not all that different than being an art curator. They’re both gatekeepers, people who have been put in charge because someone feels they have the kind of mind that can work as an arbiter of what is good.”

    But since APT has no board of directors to please, Carter’s personal experience can play a greater role than it probably would in a fancy-pants museum. Among other claims to fame, the Meatpacking venue is known for snagging hip-hop patriarchs like Afrika Bambaataa and Grand Wizard Theodore to man the decks. “My dad wouldn’t let me listen to anything with cursing, even the word damn,” Carter says. “Which of course meant I couldn’t buy any hip-hop records. So ever since then, I’ve been catching up on this musical history I’ve been hearing about my whole life, but was never able to follow in detail.”

    Justine D., formerly a resident DJ at the now-defunct Motherfucker affair, currently works as event director and talent buyer at the popular Greenpoint club Studio B, where she both books artists directly and works with selected promoters like the Fixed party’s Josh Houtkin and Dave P. “I think we have two different aesthetics here,” she says. “One is simply new-music driven, whether that means the indie-rock scene or the electronic scene, but we also try to get a lot of what we consider to be legendary names or people we feel are pioneers in their field.” While the latter goal has resulted in seminal acts such as oddball-funk acolyte Mr. Scruff and Newcleus (of “Jam on It” fame), the former has turned Studio B into the NYC headquarters for aurally anarchic artists such as Scotland’s genre-mashing Optimo and the electro-rocking Soulwax boys. That’s largely a result of the Studio B team’s social network. “I think it’s largely happened that way because Josh, Dave and I are friends with tons of those people,” Justine explains, “and that access has led us to focus on those sounds.”

    Not mentioned, but surely a consideration, is a DJ’s ability to pack a club. That’s not much of an issue at Benny Soto and Rob Hernandez’s Dance.Here.Now. bash, nominated in this year’s Club World Awards for Best Party. Soto and Fernandez have a simple gimmick: They secure the services of spinners who normally play in the megaclubs—Danny Tenaglia, Victor Calderone and Danny Howells among them—to take the reins at the intimate Cielo. But they won’t just hire any old superstar. “A lot of that big-room stuff doesn’t translate that well to Cielo,” Soto says, “so we try to get people who will be willing to play a bit more soulful than their normal set.” But isn’t it hard to get those big names to take a pay cut for their party? “A lot of these guys want to get paid no matter where they play!” Fernandez says with a laugh. “But most DJs love Cielo, so it’s not too hard to convince them.”



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