Whatever’s clever

>> DJ Eli Escobar explains how DJs can
compromise and still have fun

HOLLER BACK: Eli Escobar

by SCOTT C

DJ Eli Escobar has a reputation in his hometown of New York City that stretches back almost a decade. Along with producing records for names like Pase Rock, Juggaknots and MF Doom, he’s also been busy with Diplo on a new Hollertronix EP. Eli has also been known to sub in for Mark Ronson’s Authentic Shit Radio Show, and popped up from time to time on Stretch and Bobbito’s legendary show on WKCR, back in the day. These days, Eli’s on the road, bringing his uptempo mixes, edits and beats to the people. The Mirror spoke with Eli after he got out of the passport office in New York.

Mirror: So you’re a good guy to talk about the whole explosion of parties like Hollertronix and the Rub, where just about every genre gets flipped and mashed. Why do you think it took so long for people to realize that the multi-genre party is the ideal way to go?

Eli Escobar: Well, it’s hard for me to speak for other people, because I’m a bit older then the generation of kids that you’re probably referring to.

M: Why? How old are you?

EE: I’m 32, and for me coming up in New York, that was just always the way that people played records. Guys like Red Alert were always mixing up genres, and that’s what I was brought up to think was a good DJ. It seems very natural to me. I think it’s just a matter of things finally reaching other places, and it just catches on. The Hollertronix guys had a lot to do with it, putting something together that was appealing to the younger kids, and it sounded good to a lot of people. I guess it’s just a matter of things taking time to spread.

M: Are you surprised at how many mash-up crews and “whatever’s clever” parties there are now, and the massive network that’s been growing for DJs and crews who know how to tap in?

EE: No. I think it’s great! The first half of my career as a DJ here in New York was playing to more hip hop-oriented crowds, and it was always much more of a challenge to mix in other genres—not always, but for the most part. Now I can go everywhere in a set, and it’s great. I don’t really underestimate the audience, and people are always into hearing more than one type of music. I’ve learned that from traveling. I’ve always been impressed by going to another city and people responding to more than one style of music. Now everybody’s doing it, and learning from people who do it well.

M: How do feel about dumbing down a set, so it will appeal to as many people as possible?

EE: I think the inescapable reality of being a club DJ is that you have to do that sometimes, if you want to make a living doing it. I started out with a very clear picture of how I wanted to play, and pretty much convinced myself that I would never change for anyone, but then it happened. You just have to kind of accept it. I mean, you can try to put people up on some new shit, and sometimes it works, sometimes it doesn’t. You have to find a balance. If you want to make a living off this shit, you’ll have to compromise sometime.

EP launch with DJ Huggs at Academy
on Friday, Aug. 3, 11 p.m., $6