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The life 
& times of 
Warren Swil
 
 
 
 
 

V 1

 

 Some 2,000 men last weekend shared a 15-hour fantasy in what has become one of the rites of spring for Southern California's gay male community: The Black Party. 

From early Saturday evening until Sunday afternoon those attending were able to temporarily put aside the realities of survival in the '80s, and indulge in a fantasmagorical journey into a reality limited only by their imagination. 

For those at the eighth annual Black Party may have seemed like magic how the physical and sensual environment was able to stimulate the intensity of the response they felt. But the sensory experience of the partygoers, created by the elaborate decor and props, the lighting and music was a direct result of the passion, creativity and skill which was contributed to all aspects of the production. All these elements were carefully and deliberately designed to stimulate the imagination and unlock inner fantasies. 

Calling the event a “party” actually conceals its true nature; it is in fact an elaborate theatrical production, unique in the contributions of the key players and in the setting, or stage, upon which the drama unfolds. The “actors” were the partygoers, and the main stage was the dance floor.

Planning the set, designing the backdrops and props began more than three months ago, said Chuck Russell, who designed the physical environment and supervised set construction by a crew of more than 30 volunteers. New materials used this year were intended “to surprise people,” Russell said. 
“Black fabric replaced the heavy-duty plastic which had been used before as the overall background. It was actually easier to create with fabric those abstract shapes and forms which are visually stimulating,” Russell said. 

Unknown to most partygoers, The Black Party decor was completed in little more than half the time previously available; work on it began only at 6 a.m. Saturday morning, and finishing touches were added just minutes before the first guests arrived. The lighting, which plays an integral role in capturing mood and ambiance, was tailored to enhance the visual stimulation of the static backdrops. Enhancements to the programmable lighting were unleashed with full force. 

When the first party guests arrived, though, a new magic took over. There are few more vivid demonstrations of the powerful effects of music, expertly mixed and effectively programmed, than was provided at The Black Party last weekend. In essence, it was a 15-hour musical journey, painstakingly planned for more than six weeks prior to the presentation. 

For planning purposes, the program was divided into distinct and identifiable segments, sequentially arranged to create a desired effect. Although their precise timing is determined largely by the mood of and feedback from the audience, the program segments can be identified as warm-up (low tempo, but energizing music), followed by a gradual building of energy over perhaps three hours, into the peak of the program epitomized by those super-HiNRG well-known and popular numbers generally 140 BPM or faster. 

While the peak can last from four to six hours, it is a gradual and smooth transition into lower tempo music which is the key to maintaining the energy and interest of dancers who otherwise might be exhausted after so many hours on the floor. 

Planning the music program required dozens of hours of research over about six weeks. Hundreds of dance music records, some almost 10 years old, were reviewed. Each program segment was separately planned, with music for each selected or set aside for reasons ranging from popular appeal to whether a desired effect could be achieved or not. 

The two most objective measurements of music are its tempo and mood. These can vary in either opposite or similar directions. An example of a low-tempo song which is upbeat in its mood and highly energized is the new version of “Living in the City” just released by Sylvester. At 114 BPM, this is ideal for the early morning hours since it can generate energy even while lowering the tempo. Conversely, a song like “Check it Out” by Fancy at 116 BPM can be programmed in the warm-up phase to build energy. The difference in effect of these two songs is in the mood of the music (created by the lyrics and overall sound rather than the beats per minute) and the way they are programmed. 

One of the essential preparations for an event like The Black Party involves building physical stamina by the DJ. This year it consisted of more than a month of regular physical exercise at a gym, and an early-to-bed routine which ensured eight hours of sleep nightly for weeks before the 1S-hour show. From the beginning of last weekend's show, more than three hours was spent building energy, smoothly and gradually as the party guests arrived. By the time the crowd approached capacity, the music had reached its peak in tempo and intensity. 

While most of the audience may be blissfully unaware of it, the DJ is closely monitoring their mood and response. Accurately measuring an audience's mood is one of the most difficult but crucial skills required of the DJ. It is probably the single most important determining factor in the success - or failure - of the entire experience. 

During the late-night hours of last weekend's theater, after an invigorating performance by Phyllis Nelson, the music program took off in a planned progressive direction. For perhaps three hours the dancers were treated to a blend of well-known and popular melodies, combined with frequent digressions into jazz, R&B, mood music and lesser-known but equally accessible new and old recordings. After eight to 10 hours of high-energy dance music it takes tremendous concentration and focus by the DJ to keep an audience energized, not exhausted and still coming back for more. 

The open secret of programming for this segment is to gradually and smoothly lower the tempo while maintaining the energy and up-beat mood in the music. It is during the morning hours of a program such as The Black Party that the planning, stamina and skills of the DJ are most required and often most apparent. While there is much music in the 100 BPM to 120 BPM range, only a relatively small amount of it is widely accessible to a dance audience and energizing despite its lower tempo.

Selecting the music for this part of the program involved considerably more accumulated knowledge and experience than for the preceding segments which contain much of the more popular and better known material. One of the best and most enjoyed examples of what is often termed “morning music” is the beautiful 1985 release by Miquel Brown, “Close to Perfection.” In the classic tradition of disco, this poignant melody at 109 BPM can be as energizing during the 15th hour of the show as a much faster song would be many hours earlier. 

More than 12 hours after the show began, we looked out over the dance floor - and it was still packed. The program has clearly worked: the transitions have been smooth, the fantasy complete.

Magic? Not entirely. 

Creativity, commitment and a sense of excitement generated by those who produced this elaborately staged event, were communicated to and shared with the audience . The word “party” does not come close to a true description of the experience. 

Warren Swil is a freelance writer. Stewart Barkal has been the head DJ at Probe since 1981.