1143  Recorded Music vs. Copied

Date: Thu, 3 Apr 2003 07:28:50 +1000
From: Serkan Alasya <s.alasya@EFFECT.NET.AU>
Subject: Recorded Music vs. Copied

Sharon Gates wrote:

"So that implies that you provide the venue owners with the list of
music that you play at your milongas, and they in turn provide that
information to the proper royalties collecting agency (ASCAP?), "

In Australia, as a restaurant owner I can say that, to play recorded
music in your venue you do not have to provide a list of music you
intend to play to the authorities. All you are required to do is to pay
an annual fee which the collecting body/authority uses to assist the
recording artists (at least in part I suspect). I would imagine it would
be similar in other parts of the world.

As for the poor DJ's, they could be encouraged to part with (that is
SELL) comprehensive lists of their tandas (I assume good DJs would have
thousands) and aspiring foreign DJ's can duplicate the tandas by
sourcing the music from their own collection. Then everybody wins (as if
it is a perfect world).

Internet and friends are good places to start collecting copied recorded
music but anybody who considers themselves 'a passionate tango follower'
should buy studio recorded CDs to sustain tango record industry,
otherwise we will be shooting ourselves in the foot. And wherever you
are, CDs are so easy to source over the internet.

My Aussie two cents worth!

Serkan
43 CDs and counting...

Date: Wed, 2 Apr 2003 16:16:32 -0600
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Recorded Music vs. Copied

Serkan wrote:

>As for the poor DJ's, they could be encouraged to part with (that is
>SELL) comprehensive lists of their tandas (I assume good DJs would have
>thousands) and aspiring foreign DJ's can duplicate the tandas by
>sourcing the music from their own collection. Then everybody wins (as if
>it is a perfect world).

As someone who was called upon to play music for milongas well before I
had any real knowledge of tango music, I understand the desire to purchase
compilations put together by DJs in Buenos Aires. It is a quick way to
import the knowledge that these DJs have and have a relatively successful
milonga.

Recognizing the unguided learning that I went through in putting together
a collection of tango music for social dancing, I put together some online
resources for tango DJs, and I list the legal sources of the material.

One resource is Classics of Tango Dance Music
<https://www.tejastango.com/classic_tangos.html>. The tangos, valses and
milongas on this list were compiled with the input of almost 20 DJs and
tango dancers from around the world.

Another resource is An Annonated List of Tandas
<https://www.tejastango.com/tandas.html>. I pulled these tandas together
from the list of classics.

Another Resource is Playing Music for Milongas: The DJ's Role
<https://www.tejastango.com/milongas_djsrole.html>.
I pulled this webpage together from several extended discussions about
DJing on Tango-L, numerous private conversations with other DJs including
Tom Stermitz, Dan Boccia, Robert Hauk, Robin Thomas and Ruddy Zelaya, and
my own experience as a tango dancer and a DJ.

These three pages are part of a general section on Tango Music for Social
Dancing <https://www.tejastango.com/tango_music.html>.

The CDs that I reference in these webpages are generally available from
Classic Tango in Los Angeles <https://www.classictango.com/>,
The Tango Catalogue in Boston
<https://www.bridgetothetango.com/catalogue/catalogue.html>,
and Zival's Tango Store in Buenos Aires <https://www.tangostore.com>,
as well as other sources.

With best regards,
Steve

Stephen Brown
Tango Argentino de Tejas
https://www.tejastango.com/