Published in the March 2008 issue of DJ Times Magazine
Volume 21 - Number 3
By Jim Tremayne

Miami’s Oscar G Keeps Alive the Deep Tradition of the All-Night DJ

Miami, Fla.—In clubland’s relatively modern times, the cult of the all-night DJ began with Larry Levan at New York’s Paradise Garage. That decade-long run ended in 1987, but its rich legacy survived through the ’90s with a handful of Gotham jocks, most notably Junior Vasquez and Danny Tenaglia, who played a variety of seminal, weekly afterhours parties. New York and its venues may still get the most ink, but Miami’s Space is the place where that tradition best flourishes these days.

The man behind the weekly madness is Oscar Gaetan. Known professionally as DJ Oscar G, he can be found behind the decks in Space’s main room spinning a mix of his uniquely percussive house tunes, soulful high points, and a dash of classics. And, in keeping with the template put down by his DJ elders, it’s standard-operating procedure for Gaetan to play sets that last longer than 10 hours. A full 30 hours after the fact, he described a recent Saturday-night gig thusly:

“I started at 11 p.m.,” he says, “and played in the main room until 8 am, closed that down, then played on the Space Terrace until 1:30—I’m still paying for that today.”

Before he took on the Space residency in 2000, Oscar was best-known for his work with partner Ralph Falcon in productions from Murk and Funky Green Dogs. Their hits like “Some Lovin’,” “Dark Beat” and “Fired Up!” became touchstones for the Miami Sound—a mixture of swaggering New York soul and percolating Latin rhythms. By mid-decade all of global clubland knew the chant from
“Dark Beat,” especially its revealing line, “I’m addicted to drums…”

Now in his eighth year at Space, Oscar’s party remains the epicenter of the Miami Sound, and he has begun to gain even more attention. In 2007, he won the Club World Award for Best Resident DJ. Later that year, he released Nervous Nitelife: Space Miami (Nervous), a genuine live recording (and DVD) that properly conveys a night out in downtown Miami. Additionally, in 2008, Oscar will release a DJ-mixed artist album, tentatively titled INNOV8, which will include future hits like “Angel,” a tweaky, madly percussive workout.

As Miami’s Winter Music Conference week began to join clubland’s collective consciousness, we caught up with Oscar Gaetan, 36, to find out how he keeps the tradition of the marathon DJ alive. We talked about his music, his club, and, of course, his stamina.

DJ Times: What’s the status of Funky Green Dogs/Murk right now?

Oscar G: We’re actually working on a bunch of stuff now. We hadn’t been in the studio for a good year or two consistently, but now we’ve gotten to the point where we’ve both ended up doing albums. We’re looking to do more stuff together. We’ve written a couple grooves, a couple ideas together, so I think after these solo albums we’re probably going to really concentrate on Murk again.

DJ Times: Tell me about your new project, INNOV8.

Oscar G: I had a couple tracks, so I began thinking that I’d do an EP. But it just turned into an album and I’m actually going to DJ-mix this original material. It began with a couple strong songs and I’ve been kind of building around a DJ set. Instead of compiling an artist album, which I’ve done many times in the past—and I’m not really turned on by that right now—this idea excited me. I’ve arranged it like a DJ set and I’ll add what I think I need in the set, but I’ll add it as a producer. It’s a really cool challenge—right now I’m a song away from being finished.

DJ Times: Tell me about how you recorded Nervous Nitelife: Space Miami. What went into that?

Oscar G: Everything went into that [laughs]. I did a live at Space CD (Made in Miami) a couple years ago for Star 69. I miked up the room and everything, but I didn’t have the time to do what I really wanted to do. This time I got everything right and stuck it onto this record. The whole DVD part was really important to me—it would really showcase what DJs do, show everything at Space and my residency there and what that feels like for me and the people there.

DJ Times: A lot of people don’t understand the amount of effort and preparation that an all-night DJ puts into the gig.

Oscar G: Even for people who weren’t necessarily interested in this, I looked at this project as a way to show them how to understand it. A lot of times, in dance music and the DJ world, we’re trying to fit ourselves into slots that are already there—things like radio and video. What we do doesn’t translate into that world. It’s a whole different experience.

DJ Times: Yeah, a lot of people certainly aren’t out in the clubs at 4 a.m. and beyond.

Oscar G: [Laughs] I don’t think they get the entire thing—the DJ as an artist or even electronic music. To me, it’s the most futuristic and upfront thing there is. I can’t think of another movement that’s so popular globally, subculture-wise. People just dismiss it, especially in this country. So I’m looking for different ways to deliver what we do in ways that people can understand.

DJ Times: In the club, people trust you and want to follow the music wherever you take them.

Oscar G: Yup. I was talking to Mike [Weiss] from Nervous and we were talking about the market of this music, and I said that I see this as what jazz is and has been, rather than what people try to make it out to be. It’s a very avant-garde form of music. We shouldn’t push it in the wrong angle. Songs are six, seven minutes and instrumental.

DJ Times: I’ve always leaned toward that analogy. But, unlike other genres, there’s also the global culture of clubbing.

Oscar G: Yeah, we have the clubs that are built to play this music, and they bring the artists to play this music. It’s quite unique.

DJ Times: Tell me about your residency at Space.

Oscar G: Space, to me, is a DJ’s dream come true. To have a venue like that in my hometown, it’s huge. I’d be happy to play that room in any city on the planet. There’s a great crew, the owner is on top of it. He really understands the DJ point of view because he was a DJ, too. The booth is always tight. The sound is tight. The lights are tight. There’s a real commitment there. I’ve been there over seven years now and I get excited still, just driving over there.

DJ Times: But WMC week is certainly different at Space. After a few of the nasty incidents I’ve seen and endured, I don’t go there then.

Oscar G: I’m detached from the club during WMC week. I’ve heard the stories from friends. It’s not what I see on a weekly basis, but I don’t dismiss it either.

DJ Times: Tell me about your DJ background.

Oscar G: I was 12 when I started playing house parties and school dances in Miami. What got me into it was music. I guess I was lucky because around that age electronic music started taking off—things like Depeche Mode and early electro. I was really into that—the old Tommy Boy stuff, “Planet Rock.” That music was so strong at the time that I just got sucked in.

DJ Times: Who were your DJ heroes?

Oscar G: Just locally here, a guy named Ciro Llerena. He still plays, but he was big in the local clubs. He played late disco stuff and early freestyle, which was huge in Miami. I always thought he was flawless and I always listened to him as a kid. He really knew how to program and set up a night. Then, when the whole house thing happened in the late ’80s, that’s when I got attached. I heard people like Junior [Vasquez], Tony Humphries and Frankie Knuckles. I just got more into that way of thinking and DJing. It grew from there.

DJ Times: Where did that percussive, tribal aspect come from? There always seems to be a tight musical connection between Miami and New York.

Oscar G: I don’t know, but I think it’s the coolest thing [laughs]. That connection between Miami and New York and the drums and everything…it’s like Miami and New York have their thing and they don’t care about what else is happening. It’s really original and it’s really genuine. It’s a real phenomenon and it’s always been like that. New York just has its own sound and Miami mirrors that to a degree. Sometimes the world jumps onboard and sometimes it doesn’t, but New York and Miami don’t give a damn either way.

DJ Times: Tell me about your first DJ setup.

Oscar G: I was 14 and a friend and I used to do parties. After doing parties for a couple years on his setup, I gathered some cash and bought a Urei mixer and two Technics turntables. I think I scored the whole set for $600—and I still have ’em. I was doing mobiles from 12 through high school.

DJ Times: What did you learn from that time?

Oscar G: Hmm…that I hated doing mobiles [laughs]. Honestly, it’s a really good learning experience. You learn that people are just not always going to be happy—that’s a fact and you need to learn to live with that. Mobile DJing is a pretty nice activity for a kid to get into because it teaches you business fundamentals, ethics, customer service. It’s an entrepreneurial thing, too. I think it’s a really cool starting point for DJs—if you want to be a DJ/artist or not, it’s a cool thing for people to do. I just didn’t like people telling me what to play—that was my problem [laughs]. That’s why I always had a partner. He’d satisfy those customers and I’d slip in for the school dances and the younger crowd or the cooler house parties where I could play what I wanted.

DJ Times: I guess you got tired of playing “Hot Hot Hot…”

Oscar G: Aw, man, how many times can people hear that?

DJ Times: Remember, a lot of times mobile DJs are playing music for people who don’t get out so much.

Oscar G: Yeah, the one thing you really learn is programming. It’s such a huge thing. So many people aren’t aware of what that is. But when you’re doing a mobile, to try to satisfy 100 people with totally different tastes, it’s hard. I still look at the audience to see who they are. I’m not there to fight people. I’m there to entertain. I set boundaries—music that I’m willing to play and music that I’m not willing to play. I think it’s irresponsible not to read the crowd. That’s the whole point of being there. Otherwise, just put a CD in. Every night should be different. That’s the most crucial part of DJing, no matter who you are—entertaining your audience.

DJ Times: And now you’re playing marathon sets. How do you prepare for that?

Oscar G: First off, you have to be obsessed with finding music. I spend a couple days a week where that’s all I do. Also, I get sent so much stuff, that I’m just listening. The main thing is preparation. You have to be set up musically and confident where you can go and the moods that you can switch to. If I’m prepared, I’m confident.

DJ Times: What about playing so long and serving up so much music?

Oscar G: Of course, it’s all about stamina. It’s tough because you have these huge adrenaline rushes sometimes, just like the crowd does. You don’t want to lose it like they do. It’s a balance. And, musically, you don’t want to be shooting your load too early [laughs]. That’s a big mistake. At Space sometimes, even the big DJs might be doing great, but two hours into it, they have nowhere to go because they’ve played all the big tunes. I don’t drink when I play those long sets. You have to get into a music head and stick to it. What does it for me is my obsession with the whole thing. There’s nothing I’d rather do than DJ. Your enthusiasm and interest has got to get you through.

DJ Times: Any long-term physical effects?

Oscar G: To be honest, there are some nights when I’m wrecked, just physically wrecked. But the next day I feel great [laughs]. It’s such a rush to play that music for that long to people. And there’s a group of people who are there from beginning to end and there’s also these totally different shifts in the audience. There’s a different crowd from 12 to 2 am—it’s actually my favorite part. It’s a really cool crowd and up for it. Then come 4 to 6, there’s a transition where all the other clubs are closing and you get a more afterhours crowd. From a DJ standpoint, it’s a challenge, but that’s what makes it great. You have to keep a consistency and a storyline.

DJ Times: Talk about the idea of a storyline. Lots of the great DJs do that. Danny Tenaglia, in particular, always seems to have something new to say each time out.

Oscar G: Absolutely. First of all, Danny is a master at his craft and I think a storyline is really important. I usually have a couple ideas fixed in my brain. They can be quirky and crazy or older tracks, but sometimes I’ll play something poppy that’s old that’ll just clean the palette and allow me to go in a different direction. I can be pounding them a certain way for an hour, then jump into some crazy record that people will sing along to or have fun with, and that will allow me to go into something else.

DJ Times: If you’re gonna play that long, you’ve gotta find the right time to turn a corner.

Oscar G: I love turning those corners. I think the audience really appreciates that, rather than a monotonous thing. You need to go somewhere else. Another thing I do is keep the monitors up in the booth, which isn’t advisable for your ears, but I want to share the feeling of the audience. You can be in the booth and having your vodka and turning the monitors down and you’re just not going to feel the energy or lack of energy of the floor. I like to be in touch with what they’re hearing and how they’re hearing it.

DJ Times: What’s your most memorable gig?

Oscar G: The first time I played Pacha in Ibiza was really special to me. I don’t know if it was the greatest gig, but it was the most memorable. I had never been over there—it was the early ’90s—and I was just so taken back by how huge this music I love had become over there. It was so beautiful to see that and the club is amazing.

DJ Times: Tell me about your DJ-gear preferences.

Oscar G: I’m all Pioneer now—CDJs and mixers. I have the DJM-800 at home and at the club we have the DJM-1000.They’re so user-friendly. A lot of thought went into it and you can feel it in the machines. But the CDJs are what I really love, man. I think they’re just perfect. I couldn’t play on a turntable anymore.

DJ Times: Are you using outboard effects?

Oscar G: I use the EFX-1000 box. I’m on that all night. It’s become such a big part of the whole performance. That’s what I love about the gear now—you’re just so involved. There are stretches of time where I’ll go a good 20 minutes with loops and samples, just creating my own grooves on the spot. To me, that’s really exciting.

DJ Times: OK, so what’s in your studio?

Oscar G: Mostly, I’ve been using Logic Pro for the past year or two. Before that, I was all analog. I have a huge analog setup, but I rarely turn it on anymore. Now I’m software-based. I’ve always had a Mac, so it’s a natural progression. Also, the sequencing software I used to use, [Opcode Systems] Vision, is basically the same as Logic, which is more of a comfort. It just makes the writing process easy and you can get ideas very quickly. I’m turned onto the minimal aspect of having just a computer and some monitors. It’s not the best for everyone, but it’s really a fresh way for me to work.

DJ Times: Where do you get your drum sounds?

Oscar G: Man, I’ll get drums from anywhere. Obviously, it’s a large part of the writing process for me. I’ll even use synths that I’ll manipulate, tweak and use as toms or percussion parts. I’ll use samples, loops, wherever.

DJ Times: In 2007, you won the Club World Award for Best Resident DJ. What did that mean to you?

Oscar G: That meant a lot to me because being a real resident at a club is pretty rare today, and to be recognized is just that much cooler. Plus, Danny [Tenaglia] gave me the award, so it was a pretty special moment.

DJ Times: Who are some producers that you’re feeling now?

Oscar G: A friend of mine, Stryke, who does the vocal on my new track “Angel,” has a new album coming out on Plastic City, and it’s hot. I really like Nic Fanciulli—the stuff he’s sent me is hot and different. There are a lot of guys here in Miami that are really good—they come to the club and they know the vibe. DMS12 has given me a lotta hot stuff lately, too.

DJ Times: What advice do you have for young DJs who want to accomplish some of the things you have?

Oscar G: Assess why you want to do it. What’s your motive? That’s really important. Don’t get into this DJ thing for the wrong reasons. It’s alluring in a lot of ways, but if you want to survive in this thing, you can’t get wrapped up in it. Originality is big, too. Developing your own sound and style is important. You have to give people a unique experience. It’s not easy, but it’s crucial.

DJ Times: In your mind, what makes a great DJ?

Oscar G: Someone who gives you moments to remember. A great DJ will deliver these moments where people are touched emotionally—it can be happiness, sadness, whatever. Great DJs can touch people in a way that it sticks in the mind for days, weeks and months later. Delivering those moments is crucial. It defines the great ones from the not-so-great ones.