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...We’re trying to find a space where people of all different communities can be comfortable,” Tucker said...
...Great DJing is like great sex. Think about it. The goal is for you and [the audience] to become so attuned; when you’re rockin’ out a party the energy is so contagious for everyone and it’s one of the best feelings in the world. If you get it right, you and the crowd share this wild symbiotic connection that is just euphoric.” So wrote Harvard heavyweight of the disc jockey (DJ) world George Zisiadis ’11, a.k.a. DJ Straus, via email from Grenada. Standing alone, this comment...
...want to be too rigid about any of your principles as a DJ,” remarks Dan J. Thorn ’11, who DJed Hell at Currier’s Heaven and Hell Halloween party last semester. “If you’re rigid and get angry and [don’t] play ‘Party in the U.S.A.’ [by Miley Cyrus] or [don’t] play some song twice, then it’ll just make you more stressed out and you’ll have a worse time?...
...want to] strengthen the idea of a queer community as opposed to a bunch of people entering a club to drink, hook up, whatever." However, unlike other forms of service, DJing puts you in an empowered, controlling relationship with those you are trying to help. "You’re sort of a shaman in a secular ritual to bring people to a place of ecstasy.” This moment, she elaborated, embodies the term “communitas,” or an “über-community feeling: [the] feeling of in a moment being boundaryless...
...darkly resonant, almost tribal, beats which raid songs such as “We Want War” convey an immense darkness while Barnett plots an exploration of his own personal psyche (“Three thousand thoughts in our mind / That’s when we’re slicing through time”). The orchestral movements of “We Want War” constitute a deluge of dark intensity, particularly when the drums break into an episode of gothic-inspired choric voices, pushing the song to a climax of musical splendor...