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How DJs Can Make or Break a Party (S05 Ep84) · ZoukNerds • Learn | Build | Belong

0:00
I like energy. I like to feel like the music is
0:03
moving my body. But if the set has everything, I
0:07
am in heaven. There is no way around it.
0:10
Every great DJ has peaks and valleys, and for me, while
0:14
they're at the peak, that's the moment I don't leave the dance
0:18
floor. So if I get to a party and those
0:20
songs are playing, when I get there, I put my shoes as quickly
0:24
as possible. I don't stretch, just go, let's
0:26
go. For me, beginning of the social
0:29
should be some something friendly, something that
0:31
everybody can dance with. Nice transitions, nothing too
0:35
complex. I felt like I was high on
0:37
something because it was the whole build up to that point.
0:41
So that's the power when something is inserted
0:44
skillfully. Because most of the people just
0:47
sit down or they keep dancing. Because let's be honest, a lot
0:51
of the people in Zook, they'll dance to whatever you play.
0:53
They don't care. Even if you stop the music,
0:55
they'll keep dancing. It's one of those moments in
0:57
life that you think everything was worth it so we could come to
1:03
this moment right here. This one time I just remembered
1:06
this DJ just went from like an almost Lambada song into a
1:10
Disney Princess song. I'm like what the hell just
1:13
happened? Did you press the wrong button?
1:16
Did you really press the wrong button because you must have
1:18
made a mistake? What kind of music really want
1:23
to makes you get up and dance? From high energy remixes to cozy
1:29
traditional Zook, why do some songs make our hearts explode
1:33
while others make us head for the exit door?
1:37
Well, let's find out. Hello.
1:40
Hello everyone and welcome back to Zook Nerds.
1:43
In this episode, Guy and I have a fun chat about the music we
1:48
love to dance to and why. We explore our favorite styles
1:53
like old school R&B and traditional ghetto Zook, and why
1:57
energy is the secret ingredient for a great warm up.
2:02
We also share our pet peeves about DJ sets and how a single
2:06
nostalgic track can bring the whole room back to life.
2:11
So let's go. Hello everyone, my name is
2:23
Alison Sanji and let's welcome back our beautiful Co host, Gee
2:27
Prada. Hello, Gee.
2:29
Hello, Alison. Hello, everybody.
2:31
Welcome back. Today we're going to be having a
2:34
fun conversation we want to discuss here.
2:38
What kind of music do you like to dance to and why?
2:43
This is often something that we talk to people in class or at
2:48
socials or even when DJs come and ask us when we have our
2:52
Weekender. Hey, what kind of music do you
2:54
like to? Just to make sure that I play
2:56
some of the stuff that you like best.
3:00
And for me, it's kind of hard to answer that question because I
3:05
like everything. As long as there is enough of
3:09
everything. I can get a little bit more
3:12
specific into what I play for myself if I want to dance by
3:17
myself. But when I'm going to a social,
3:20
as long as there's a little bit of everything, I am happy.
3:25
Too much of anything, I don't know, it gets a little boring.
3:29
How about Yogi? What do you think?
3:32
Exactly the same. I have my preferences, I have my
3:37
very different preferences, but if the set has everything, I am
3:44
in heaven. There is, there is no way around
3:47
it. It's being like this for the
3:49
longest time. But we do have, I do have my
3:52
preferences. And also every time I see you
3:55
play the sets, the sets that you choose for your warmups, the
3:57
sets that you choose to dance, I can see your preference there.
4:03
Although I cannot define what kind of music is that.
4:06
What is that that you like more? I don't know how to name that
4:09
kind of a vibe that you like. How do you name that vibe?
4:13
So I like energy. I like to feel like the music is
4:18
moving my body. And specifically for the
4:21
warmups, they are quite intentional because I want to
4:25
bring a certain challenge to that warm up.
4:30
So I play music that challenge people, but also I play music
4:34
that are quite upbeat, quite upbeat and really brings
4:39
everybody's attention into the room.
4:42
A lot of those sets are by DJ Kakao or some other DJs that
4:47
have some sets on that high energy kind of thing in the
4:51
music styles that are played. A lot of them are remixes, but
4:57
more towards like Mombaton or Afrobeats, that type of thing,
5:04
but really slowed down because if you go to YouTube now and you
5:08
look up Mombaton, it's fast, OK? It's very fast.
5:13
So all the Zook DJs, what do they do?
5:16
They download it, they buy it, and they just bring it down.
5:20
So it's pleasant enough for us to social dance to Brazilian
5:24
Zook. Yeah.
5:25
And of course, if I'm at a social, that's probably the
5:30
moment that I'm going to go a little crazy.
5:32
When the DJ goes there, when the DJ goes to the peak, you know,
5:37
every great DJ has peaks and valleys while they're playing.
5:43
And for me, while they're at the peak, that's the moment I don't
5:47
leave the dance floor. Sometimes when they go to the
5:50
valleys and they get to some music that is more like same,
5:54
same. That's when I take a break.
5:57
But that really depends on the time of the social.
6:01
For me, the earlier, the more energy I want to have, but the
6:06
later I'm very OK if the DJ is more chill, very OK.
6:12
I am not that kind of Brazilian person that wants to finish the
6:16
party with the loudest and highest and fastest music, you
6:20
know? I'm OK finishing the party with
6:23
some chill, but the one thing that I cannot handle is when
6:29
DJ's go too low for too long and it's right in the middle of the
6:33
party or at the beginning of the party.
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Just because they love to play that kind of music and they want
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to play it because that's their moment.
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Instead of thinking, hello, I've been scheduled in the middle of
6:49
the party. So I need to change how I play
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to please the people, but they just want to please themselves.
6:56
Well, those DJs, I tend to skip when I see them in the schedule
7:01
and I tend to go to the ones that I know are going to play
7:05
for the crowd. I think lately, lately I've been
7:09
really, really enjoying a mix of that high energy in a mix of
7:15
more traditional music. You know, when, when I say
7:18
lately we're talking about old people here.
7:20
So I'm talking about like 5 plus years.
7:23
The last five plus years are really been enjoying some real
7:27
nice traditional music and the higher energy music.
7:33
Before that, there was a moment or an era that most people in
7:38
Brazilian Zook mostly danced to remixes.
7:43
It was the whole social remixes, No traditional, no lyrical, no
7:49
original music straight from the artist.
7:52
No, it was always with some beats on top of it, remixed by
7:57
somebody. But thankfully nowadays it's a
8:00
mix of everything that makes it more pleasant for everybody.
8:04
Yeah, you were saying about these sections of the party and
8:07
what the DJs play. And I was remembering here my
8:11
preference is changing as well depending on how tired I am, the
8:16
mood, the moment of the social, but the energy level, my life
8:22
energy level, also being the thing that defines my preference
8:27
at the time. So having the overall set of
8:31
preferences in terms of style and having the specifics of
8:36
changing in that list depending on the energy of the body.
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So I remember very recently arriving at the social, tired,
8:45
physically tired to start for seven hours and arriving the
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sort of super tired. And the DJ, when I arrived, the
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DJ was playing my top list preference.
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He was playing traditional music, more specifically Ghetto
9:01
Zook. So the variation, the Ghetto
9:04
Zook music Kabulov. So the variations from Cape
9:08
Verde, some Kazama music and the Caribbean Zook, some of the
9:13
Caribbean Zook songs, the old ones, you know, between 2001 and
9:18
2910, these songs I love so much, I think they will be top.
9:26
So if I get to a party and those songs are playing, when I get
9:30
there, I put my shoes as quickly as possible.
9:34
I don't stretch, just go, let's go.
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And then afterwards, I will do my preparation after start
9:40
dancing because there's a big risk that sometimes they'll be
9:44
the only section of the set that I will have those songs.
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So I take advantage of it. So these are definitely my
9:53
favorite songs. However, there are some moments
9:57
that my top would change to. I really like R&B as well, and
10:04
R&B brings out a different energy in the body, a different
10:08
kind of dancing, a different way of dancing.
10:10
And I think with the traditional kind of music, I feel more
10:16
comfortable expressing that archetype of myself.
10:20
With more people, with almost anyone, the R&B 1, I feel that
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you'll fully express that archetype that I can embody with
10:31
the R&B. I'm going to see a need, for
10:33
lack of a better word, But if the other person also brings
10:38
that out, my gosh, dancing to R&B sometimes is better than
10:42
dancing to traditional music because we engage in this back
10:46
and forth playfulness thing that the R&B brings, especially the
10:49
old very cheesy ones. Those ones are the.
10:52
Best. And in the third ish place would
10:58
be old school nails look like, you know, Max Black soul did the
11:03
songs that Matthew put out in 2007, eight Pfeiffer, some
11:09
Archangel stuff, man, those things from the before the 2000
11:13
tens that I remember. I think those are the ears.
11:16
Oh my gosh, I really like that stuff.
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And it's so rare to listen to them nowadays.
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They want somebody. There was one DJ in DC, Sony K
11:26
Bliss. Oh my God, sometimes I just want
11:29
to squeeze her because she plays those songs from time to time.
11:33
And I go to horror like, where did you find this?
11:36
Where did you take? This is such a joy that I feel
11:41
because it taps into the nostalgia, you know, this very
11:45
cozy feeling of like, oh, there is an old story that I was told
11:51
many times back in the day, but I don't hear anymore and
11:53
somebody's telling the story to me again.
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And there is this sense of identification.
11:59
So this will be. Top of my head, the three styles
12:02
of music that if they are playing at any point in the
12:06
social, they bring the energy back up.
12:10
Yeah. And especially if I am at a low
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energy, if my body is tired, my mind is tired, those songs, they
12:19
put energy back again. And sometimes it's all I need
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honestly, to have a good social time.
12:26
Yeah, the reason why I like the traditional ones and the upbeat
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ones a little bit more or maybe a lot more is because I feel
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like I can have fun with the most amount of people.
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That's that, you know, So when it's my Weekender, I just tell
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the DJs, I say, hey, just make sure that the energy is nice for
12:47
everybody so we can keep dancing.
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Try not to go too low. Try not to go too high because
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that's when you kind of eliminate a lot of the people on
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the dance floor. So my preference is very much
12:59
based on that. When I'm training, like really
13:03
training with a person or maybe in a private lesson, then I'll
13:07
be a little bit more adventurous.
13:09
Yes, I like a lot of the Neo stuff.
13:12
I like some mellow, very chill stuff.
13:16
It really just depends on the intention of the training and in
13:20
my teams I'll do that. Sometimes we're doing more
13:24
dynamic or connection type of class, so I'm going to put this
13:29
very lyrical mellow type of sets for them to practice.
13:34
Or sometimes we're playing more just, you know, constant type of
13:39
speed movement that needs very consistent beat.
13:43
So then I'm going to put a traditional set so all the
13:46
students can practice that way. So in terms of what do I like in
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the social, For me, beginning of the social should be something
13:56
friendly, something for beginners, something that
14:00
everybody can dance with, nice transitions, nothing too
14:04
complex. So I often say most of the
14:07
traditional stuff or very, very old school R&B, good in the
14:12
middle, put a bit of everything, play with everything, and then
14:16
towards the end, once again, bring people down a little bit.
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So then people can still dance, but they don't need to have all
14:24
of that energy because they've been dancing for a long time.
14:27
One type of music, maybe 2 that I don't really like, 1 is R&B,
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very specifically the type of R&B hip hop music, I'm not sure
14:41
how to call it that is just spoken words or kind of doesn't
14:47
have like melodies and apps and losing the voice when the guys
14:51
just I'm like OK, I don't feel connection with that music.
15:01
So if it's that kind of R&B hip hop that the guy is just
15:04
talking, talking, talking, talking, talking, talking,
15:06
talking, talking or the singer female male talking the whole
15:10
time. No, not for me.
15:13
But the R and BS, especially the old schools that everybody sings
15:17
along and the hearts explode and all of those things, yes, love
15:22
that. And the other one that I don't
15:25
really connect with is the type of music that is too dramatic,
15:31
lyrical. Sometimes you're going to see
15:34
some DJs going a little too far towards the end of the party and
15:39
they just go like drama, opera, sometimes even like rock and
15:46
then the Disney stuff and all of those movie tracks and I'm like,
15:52
OK, now it's just a mess. It's just because unless some
15:59
DJs can be very, very skillful and they can make it make sense
16:06
towards the end of the party, sure.
16:09
But I think a lot of the DJs who do that, they're just doing
16:12
because they heard somebody does it and everybody loves when that
16:16
one DJ does it. But let me tell you guys,
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everybody loves when that DJ does because they do well.
16:25
That doesn't mean that you're doing the same thing is going to
16:27
be good just because you play the same song.
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There's a whole thing, OK? It's magical if it works, but
16:35
99% of the times it doesn't work.
16:38
Yes, some people are happy because they're like, Oh my God,
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this is the type of music I love.
16:43
Either drama music or movie music, Disney music or some type
16:49
of music. But most of the times I look at
16:53
the dance floor and I'm like, wow, thanks for ending the party
16:57
early, DJ. Because most of the people just
17:01
sit down or they keep dancing. Because let's be honest, a lot
17:07
of the people in Zook, they'll dance to whatever you play.
17:09
They don't care. They're just like in trance and
17:13
they keep dancing, dancing, dancing, dancing, dancing.
17:15
Even if you stop the music, they'll keep dancing.
17:17
So I don't take that judgement from them.
17:20
But most of the people, yeah, they just step away.
17:23
And that's me. I'm like play for the room, play
17:27
for everybody, because I think that the energy in the room also
17:33
makes me want to dance. So many layers as to why I like
17:39
something and why I don't like something.
17:41
I like what makes everybody dance.
17:43
That's it. Yeah, this war, really lyrical,
17:46
really super lyrical, instrumental songs combined with
17:49
the Disney songs, they are really hard to pull off.
17:53
Oh my God, they are so hard to pull off.
17:55
I like you and the Addison had experiences in which it made
17:59
complete sense and it was awesome.
18:02
It was blissful. It was incredible.
18:04
And times that it was not. So it's funny because when it's
18:10
well done, you can say, oh, I like these songs.
18:14
I like dancing to the songs. When it's not well done, I don't
18:19
like this. I don't like dancing to this
18:21
song. So in the end of the day,
18:23
sometimes the preference that we have is really connected to the
18:27
build up, really connected to how we were taken to that place.
18:33
Right, sorry to interrupt but this one time I just remembered
18:37
this DJ just went from like an almost Lambada song into a
18:42
Disney Princess song. I'm like what the hell just
18:46
happened? Did you press the wrong button?
18:50
Did you really press the wrong button?
18:51
Because it you must have made a mistake.
18:54
It doesn't make sense. That's such a jump.
18:57
Yeah, in that case, yes, that case was like a cold shower.
19:01
They're out of nowhere. The room froze.
19:04
Everybody started looking up, like, hang on, we were just on
19:07
the beach in Brazil right now, dancing this type of music, and
19:12
now suddenly I feel like everything just stopped.
19:15
Big shock. No, not good.
19:18
Yeah, man, this reminds me. There was one social one of the
19:21
socials in the Bali retreats and DJ Steff was playing and he
19:29
played a Studio Ghibli like music, like song like, I don't
19:34
know if it was from a Studio Ghibli movie, but he had that
19:38
vibe with the way that the score was made and the way that he
19:42
made it happen was so incredible.
19:45
I felt like I was high on something because it was the
19:49
whole build up to that point. It was so well done that when
19:53
that song came in and made so much sense, it made me like, not
19:58
made me like, but it made me curious actually about that kind
20:02
of music again. So I went on Spotify and started
20:04
looking to the Jubilee songs, the soundtrack and this is 1 by
20:07
1 to see if I could find that song.
20:10
You know, so that's the power when something is inserted
20:14
skillfully and also when that is done, it sometimes you find
20:20
yourself curious about the kind of music that you were not
20:23
curious before. Same thing happened with me with
20:27
what we call like flow music or jungle music.
20:30
Because there is the way of music.
20:32
The way of music I would say is more you know, doesn't have like
20:38
a strong beat, but songs of the forest, they have a strong
20:42
beach. They so they have a beach going
20:44
on at all times. I have a playlist on Spotify
20:48
called Lat Zook Flow has a lot of those songs and the songs
20:52
have 9 minutes. They have 10 minutes and they
20:55
are basically a consistent beach.
20:57
Really good songs that I use for practice.
21:00
When you want something that keeps going for a long time very
21:04
steady, I use that kind of music and in socials when that is well
21:11
inserted me and it's amazing because it puts you in that, you
21:16
know, in that continuous beats and in that vibe and you just
21:21
go, go, go, go, go. And you really feel what I
21:24
understand as flow in the sense of continuity.
21:28
You keep going, you know, and me and some DJs do this so well, so
21:34
well that I feel excited about the opportunity to listen to
21:40
them play because they're really good at mixing.
21:43
Things that would by itself or played for a long time or just
21:49
played would not be really good, you know?
21:52
And there was one, one last one that lately has been that stole
21:56
my heart completely, is the remixes people have been doing
22:00
of Brazilian music, of Brazilian songs, creating remixes.
22:06
I don't even know if they are Brazilians of remixes, but they
22:09
are definitely remixes of some Brazilian souls.
22:12
And man, incredible. There is this DJ in Brazil, her
22:17
name is Oladis, DJ Oladis, her DJ name, a couple of her sets I
22:21
really like. The absolute majority of the
22:24
songs are in Portuguese, Brazilian Portuguese.
22:26
You might have one or two. They are not and me and they are
22:30
not necessarily fitting in any one of these categories that I
22:35
like. Not traditional, not neo Zook
22:37
nor R&B. They are something else
22:40
entirely. And it's amazing because I feel
22:44
that good vibration of the beach, but in this very cozy
22:49
way. Super, super nice.
22:51
So I'm thinking here now that my preference really go towards
22:58
music with a full beat, with a delicious beat.
23:03
When I step to the Brazilian Zook rhythm, it feels good, and
23:07
the bad it feels good. And the feet, you know?
23:09
So I think my preferences are leaning towards debts.
23:12
When the lyrical stuff kicks in inside that context, it feels
23:17
amazing. It feels like a little break.
23:19
It feels like, you know, invitation to move in a
23:22
different way. Then we go back to the beach.
23:24
Then it's all joy. Yeah.
23:26
But I think that will be my biggest realization.
23:29
The beach is my preference. What kind of music makes you
23:33
either take a break or leave the room and come back in 10-15
23:38
minutes? Man, it's when it gets lyrical
23:41
for too long. I remember there was a social
23:44
start with the violins. Violins and pianos really felt
23:48
like I was in a classical music concert, you know, and couldn't
23:54
connect to it and chew upbeat songs, songs with a drop, they
23:59
go, you know. What is the name of this dubstep
24:03
or something like that? There's some of them are
24:05
dubstep, but the most recent ones that we see in Jack and
24:09
Juice and a lot of that is Momoton.
24:11
So I think in the end, Momoton and dubstep the songs with a
24:16
drop more than three one and two three of those songs for me is
24:21
really hard to connect with. With this very like this kind of
24:26
sound for me, it's really, really hard to connect with.
24:30
If I was not taken there, you know, or my energy is really,
24:34
really high, really up, then I can handle, but it's very hard
24:38
for me. So I think it'll be the two
24:39
extremes, right? The Super lyrical with the
24:41
violins and the pianos and the really, really high with the
24:45
momentum and the M and dubsteps. Very interesting.
24:49
For me, I think yes, for the Super dramatic, not just
24:54
lyricals. I like lyrical.
24:57
If I'm dancing at the end of the night and I have somebody to
25:01
dance with that we can go there, you know, Because for me, the
25:05
lyrical music, more mellow music, they require a type of
25:10
dancing and connection that is late at night.
25:14
And we're not really going to dance Brazilian Zoo as we
25:18
normally dance in the middle of the party.
25:20
We're going to dance dynamics, we're going to dance creativity,
25:24
we're going to dance whatever happens, whatever flows.
25:28
If I compare that type of music with that type of partners, I'm
25:33
there. But if the DJ is going there,
25:36
but clearly the whole room cannot dance to that music,
25:40
which again, it's the DJ's fault for not paying attention to
25:44
that, then I'm just like, no DJ, Big mistake.
25:48
Big mistake. This is not the room to do it.
25:51
This is not the people to do it. That's a big problem.
25:53
And like I said, the R&B, but specifically the R&B that is
25:58
just like monotone kind of speaking, not even singing.
26:04
Now, what really brings me back to life, definitely music and
26:09
definitely some remixes from the very, very past, like from 1510
26:16
years ago. Even some Kadu remixes from back
26:20
back then. Kakao remixes, as you said, Max
26:24
Black Soul. I think those.
26:27
Oh, my God. DJ Kalado.
26:29
Yes, good friend. Because those are like, part of
26:35
our history books. Like I said, it's not just about
26:38
the music. It's about taking us back, kind
26:41
of taking us back to a different moment, a different feeling,
26:45
even if it's not something that we would actually go select to
26:49
play today if we had to make a playlist.
26:52
But then somebody plays and I'm like, oh, yeah, wow, I didn't
26:57
know I missed this kind of music.
26:58
So yeah. DJ Sprank from Boston is
27:02
somebody who has learned my ways a little bit too much because
27:07
when I was leaving, DCI used to go to Boston very, very often
27:11
for weekenders. And he's very smart guy, Very,
27:16
very smart guy. He will listen to the things
27:18
that I put in class and he'll make little notes and then he'll
27:22
listen to a song that makes me get up and he'll make a little
27:26
note. So overtime he and also DJ
27:29
Fozza, he told me they have folders for different people.
27:34
So for example, if I'm visiting Boston and DJ Sprank is playing,
27:39
he's like, OK, this is the Allison folder.
27:42
Whatever happens, if I see that Allison is getting bored, I'll
27:45
throw one of those. And that's just going to be like
27:48
a defibrillator, you know, it's just going to go on the chest
27:51
like in the room. He's awake again.
27:54
And if Foza has done that and I feel all their DJs kind of have
27:59
learnt those key songs, that when that song plays, oh,
28:03
there's nothing. I can be rolling and dancing and
28:06
jumping on the floor because that's what's going to happen.
28:08
And some songs I actually don't dance with somebody.
28:13
It wakes me up. But then I just get up and I
28:17
start dancing by myself and people like, oh, let's dance.
28:19
I'm like no, no, no, no, no. This song is for me.
28:22
This song I need to dance by myself because that's how I'm
28:27
going to come back alive. If I can dance that song in my
28:31
body, it's just very meaningful, I guess.
28:34
Yeah, Vinnie does that too. Vinnie has a folder for each
28:37
artist, and it's funny because when he opens your folder, he
28:41
looks at you. You know what's coming, you know
28:43
what's happening And what the DJs told me, if I was Avini,
28:48
what they told me is that they do that because when the teacher
28:51
and the artist is fired up and they go dancing on the floor,
28:56
that influences the whole area around them, you know?
29:00
And so there is like a power to it that is contagious, that
29:04
affects and effects everybody around you because of so much
29:08
joy that you were feeling for that thing that is playing.
29:10
I remember in Taiwan last year, I was there with Vinny and then
29:15
he asked what song and then I told him the song.
29:19
Man. We were so fired up so much that
29:23
when we realized everybody was dancing, people that were
29:27
sitting started dancing again. You know, people are dancing in
29:30
groups, in grills and all the things.
29:32
And it was so magical. It was so magical.
29:35
It's one of those moments in life that you think, ah,
29:40
everything was worth. It.
29:43
So we could come to this moments right here.
29:45
It was one of those moments and it was not one song, of course.
29:50
It was the result of a whole journey that we were doing
29:53
together. But that one song that he played
29:56
had the power of getting people out of their chairs for that
30:00
last stretch of that experience that we had, you know, so
30:05
beautiful, beautiful, beautiful moments.
30:08
And so this is like, this is something that we might not
30:11
realize how impactful it is and how powerful he can be when the
30:16
right song comes and the right people are in the room.
30:21
The right people, I mean the people who will be.
30:24
Really. Excited about that song and I
30:27
really will show you and express their bodies how excited they
30:32
are about it so. Yeah, I mean, you see that the
30:35
best DJ is there, there in the room way before they start
30:39
playing because they want to see how people are reacting to every
30:44
type of music, to know what to do when they come and start
30:49
playing or even if the crowd changes or something like that.
30:54
They need to be on, they need to be looking.
30:58
Too often the DJs are just looking down and down and down,
31:03
and they've spend a whole day preparing that set.
31:07
And when they go there, I literally just say, you guys,
31:11
you're pressing buttons, come on, you're not connecting with
31:15
the room. You're just going, OK, next song
31:17
play, next song play, next song play.
31:20
That's not good. You have to react to the room.
31:23
You have to see what's going on. I used to DJI DJ Ed for like 12
31:28
years and the most I prepared anytime I DJ was my first two
31:34
songs. And sometimes that wouldn't work
31:36
out. So I'll change because the other
31:37
DJs finishing like all the way up, up, up, up and maybe my
31:40
first two songs or not something that would match that.
31:43
So then I would change that. But yeah, maybe the first two or
31:47
three songs and that's it. From then on, it was wherever
31:51
the room takes me. Let's go song by song.
31:54
Almost. Yeah, I mean, I'm still thinking
31:58
that one day I will DJ, but then and I'll feel in my skin.
32:02
But the little bit that I did of a DJ class was like, Oh my God,
32:06
this is a ginormous responsibility.
32:09
And so much stress, so much stress.
32:12
Now I understand when some of the J's the DJ's I know are like
32:16
eyes wide open, like almost inside the screen, you know,
32:21
like me focus because the stress is intense.
32:25
I understand so much now and yes, guys, you do an incredible
32:30
job. Yeah, so good to see you, the DJ
32:35
for us to dance and have a good time.
32:37
Yes, I think the DJs that we have nowadays, bro, like the
32:43
level is insane. It is really insane.
32:47
And just as a last comment to that, for example, the fact that
32:52
we can organize festivals around the world today and have a DJ
32:56
lineup that is separate, mostly separate from the teachers
33:00
lineup. That's a testament to how good
33:03
the DJs are that they are being brought as a DJ.
33:08
Because before, when the community was growing, all of
33:13
the teachers were the DJs, not necessarily because all of them
33:17
wanted to, but sometimes because they had to.
33:21
Like they don't have DJs. So many times I show up to a
33:24
festival that I'm not contracted to DJ when I used to.
33:28
And they're like, hey, listen, do you have your stuff here?
33:31
And I'm like, yeah, I always bring it just in case They're
33:34
like, oh, yeah, because we need more DJs.
33:36
And I'm like, OK, yeah, put me in.
33:39
You know, there was not enough. And nowadays, organizing all the
33:43
Burzookis that I did, there's more DJs that I can put in the
33:48
lineup. So that's amazing because I
33:51
think that really helps the community.
33:53
And so thank you, DJs, for all that you do.
33:57
But I'm not going to take back all the feedback that I just
34:01
gave you in the episode. Please connect to the room,
34:05
listen to the room and know who you're playing with, what time
34:09
you're playing, because all of those things are very important.
34:12
So thank you once again for being here and supporting us.
34:16
Please follow, like, subscribe, share it with your friends to
34:20
help us continue growing this beautiful podcast and community.
34:24
And we'll see you on the next one.
34:27
So thank you. Thank you.
34:29
Pages, pages, everybody. Our dresses and Ciao.
34:34
Ciao everyone.