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What’s Good? saint. (part two)

. . . continued from part one

I really appreciate your statement about “dollar bin DJs.” What is is that you think, beyond say, creativity, that really “makes” a DJ stand out and stick around? And in your case, what were some of the signature qualities that helped you get to where you are?

The essential qualities for a DJ to possess are pretty rudimentary but not everyone has the passion to upkeep them. For one, a firm grasp on music and how it has evolved, as well as how it becomes relevant again. Before I even attempted to play records for a room, I researched and researched. My entire career is essentially an ongoing research project-I used my open mind and understandings of genres and types of music to expand the horizon of the world to me. One thing a lot of new DJs don’t understand nor care to research is how the music that they are playing now originated. Unfortunately, the days of the record store have been numbered and are very limited (especially in Ohio)-so someone starting off as a DJ doesn’t necessarily have the luxury of going to their local record store and going through crate after crate of records.

Which leads me to another point, DJing is more than a trend, it’s a life one has to be willing to accept. If you are in it to be the next’ superstar celebrity DJ then I honestly want nothing to do with you, ever. However, if you are in it because you have experienced the practically orgasmic feel of exploding a room through creativity, reading, and programing, then you may be my best friend A lot of new DJs, hop on the trend of whatever music is popping off right now, rather it is dubstep, bmore, moombathon, indie-electro, etc and they dedicate their whole brand of DJing to playing this while it’s hot. Unfortunately these kids (I don’t care if you’re 45 or 23-you’re a kid) fail to do know their history and realize that what they are playing isn’t relevant in terms of actually being new.

We’ve seen this here countless times with songs like Paper Planes, or American Boy, to bands such as MGMT, Justice, or Holy Ghost, to whole genres such as Dubstep and Moombathon. [They fail] to realize that the only reason they know of it is because it’s new to the mainstream, not to anything else (which can mean up to a 2 year difference!). So while actual DJs are doing their jobs; by that I mean introducing new music to audiences (educating) while giving them a comfortable palette of what’s familiar (catering), these dollar bin DJs are staining the life by playing what they just heard came aware of via an outdated source (radio, MTV, etc).

Everything is spontaneous, I enjoy the fun and the challenge of the creative process. Music is a journey and I like to share my journey – the highs, the lows, the successes, and the failures – equally with my audience. I feel you can’t do that going in with your set predetermined. Even if you are playing the same club every week, week in and week out, you can’t predict how the room is going to be paced. Yeah, you may have an idea of what songs are really going to get everyone going, but that in itself is not enough, you have to read in real time and program everything to fit in its right place every night.

What are some of the other venues, and how do they differ from Bounce?

Some of the other venues vary from Bounce in the crowd that they attract. It sucks that this distinction has to be made (but it seems necessary in this region and unfortunately this day and age) but Bounce is one of the only lgbtpqqia exclusive clubs in town. Granted, I am aware of the safety levels of being a transgender person and very publicly exposed so I don’t play in venues or events that pose a high risk of personal safety for me-because of trial and error I have seen on first hand how ugly things can get. The other venues, however, that I do play in are very open minded venues and have the real mentality that it doesn’t matter what your story is-you come for good music, period. It (this message) doesn’t echo too well across the local lgbtpqqia spectrum in Cleveland, but those in the community that have made it out to these venues realize that it is a friendly and open change of pace from their ordinary nightlife. The main venue is the Bside Liquor Lounge in Coventry Village (Cleveland Heights)-it’s literally an underground venue (located under the Grog Shop). We have world renowned DJs and acts in the venue and the resident and rotating DJs there are of [high] caliber.

In addition to DJing, you also work as a makeup artist and designer. Can you tell us a little more about that work and how it all connects to your work in music?

Working as a makeup artist as well as graphic designer directly relate to my career as a DJ. For one, I never need a stylist and between my design skills and marketing know-how I am practically my own publicist and marketing team. I have an extreme love for photography as well and if I’m not behind the decks I can usually be found behind the lens. A lot of people always approach me about EC and ask me ‘who does your flyers, they are always so neat’ which in itself leads into its own line of work by doing design work for other clubs, djs, promoters, businesses, etc. I like to use my creativity as not only a benefit and efficiency for myself but for others out there too-even if it’s outside of the nightlife community and involves working with local organizations, or educational environments.

How did you come about the name “saint.”? Does your music redeem your listeners from sin?

I like that reasoning! I wish that was the case, I actually earned the nickname in high school. I went to a catholic high school and whereas I had my teenage bad girl club moments, I wasn’t a known troublemaker and believed in concepts such as respect for my instructors. One day in study hall, a few students were conspiring to some antics and asked me if I wanted in, I promptly responded with a ‘no, I’m good but thanks’ in which the questioning student asked me “what are you going for sainthood or something”. From that point, I snapped back with a “yes actually I am-so you can refer to me as saint for now on” and the rest is history

How has it been to be a transgender woman in the music and entertainment scene? What have been the benefits? the challenges? changes you hope for in the future?

My journey being a DJ as well as being a transgender woman has been one full of challenges and unexpected rewards. One of the greatest challenges is the fact that I didn’t begin my DJ career as a transgender woman, for the first 7 or so years of my career I was not yet out. When I came out, I was worried about whatever devastation my career would face, if I would even ever DJ again. As many know, the realm of the DJ is one that is largely dominated by heterosexual, cis-gender men-a transgender DJ may ruffle one too many feathers. Once I made the decision to come out and go public with my transition, the reception from the DJ community has been overall great. Yes, some connections and relationships were lost but the ones that have maintained and the ones that continue to grow overshadow any severed connections. One of the challenges I continue to face is the necessary task of education, I know I’m just here to play records but I do have an obligation as a representative to the transgender community to educate people the dynamics of gender, sexuality, etc.

Are there other transpeople in whom you find inspiration or whom you consider role models in your field?

There are definitely other transwomen that influence me, however I find it rare (at least in my current city) to find other transwomen DJs. The ones that I do know of have been tremendous influences on my confidence-it’s a great reminder that I’m not necessarily alone out there. In general I find inspiration and admiration in many women, trans or cisgender, one of the key examples is in my mother, who is my biggest champion

What are some things you are doing / hope to do in order to serve as an educator beyond just an amazing DJ and industry role model?

I try to speak and do advocacy work with the greater LGBTPQQIA community and beyond. I have spoken at colleges and universities, shared my stories with adolescents and young adults, as well as having the honor of speaking before my city at events such as Trans Day of Remembrance. I share my story and my mind with as many people as possible in hopes of increasing the accuracy in the representation of the trans community. I hope that my story and my experiences will help people with the same struggle as me realize they aren’t alone and you can, as my mother always believed, dare to be different while being successful.

- Retail DJ

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What’s Good? saint. (part one)

24 May

saint.

“Keep Calm and Just Dance” might be one of the mottos for her dance party Eclectic Circus, but “calm” is the last thing I think of when I hear this lady’s work. Just whom am I talking about? Zoë Renee Jackson, better known as saint. . Though her moniker was earned from her good behavior, her mixing will lead you to some serious sinning.

She sent me an email way back in January to introduce herself and to promote one of her recent additions to her Chocolate City mix series (which you can listen to here), and I was quite impressed. Beyond being an excellent DJ, saint is also very creative. Makeup and styling are certainly among her list of many talents. Yet in an interesting twist, she doesn’t live in NYC, LA, or Miami. She calls Cleveland, Ohio her home, breaking many stereotypes about the Midwestern music scene (save Chicago and Detroit, of course). In a time when large major cities are experiencing a bit of a musical rut, it’s good to know there are always people out there who are pushing the envelope and using their music to move a dancefloor.

In addition to being a trendsetter in music, saint. is also serving to change the landscape of the music scene as being one of the few transgender DJs out there, particularly with such a diverse following. Her dance party was recently ranked one of the top music parties in Ohio, despite its newness, and I completely understand why.

I had the opportunity to speak with saint about her work as a DJ, promoter, and overall Renaissance woman. Take a moment to find out what she had to say and see What’s Good with saint. :

The mix that you initially sent us, “Return to Chocolate City,” spanned so many different musical genres. What inspired you to make it and what equipment/system did you use to put it all together? I also noticed that, unlike many DJs, you allowed many of the songs you chose to play out almost in their entirety. What motivated that choice? Are most of your mixes done in this way or was it an explicit choice for this mix?

The “Return to Chocolate City” mix is actually a part of a series of mixes that I release in a Chocolate City family. My reasons for initially starting this series was that I could open a new avenue of playing a lot of music from a lot of DJs and producers that influence me, musically. It’s really a great way for me to relax from some of the nights out I have when working. It allows me to play music that really speaks to me and that I would gladly play for free any night of the week. When I am doing one of these mixes, I envision a story of an epic night out in a city dripping in rhythm-from start to finish. In respects to my mixing style in the chocolate city series, I choose to play the full length of a lot of songs because there is a story to be told within the beat, and there is a story within the transition to the next song. I ‘ride’ a lot of the mixes out for 1 minute or more in the series, allowing the phrasing to speak to the listener, for them to close their eyes and project their selves in this adventure with me. I have been known to change my style around, especially during really high energy performance sets, in which case I use the selection and the phrasing to tell the story. I use a basic setup of two turntables, a mixer, and my scratch live unit-I also do al of my mixes in one take with little to no pre-determinations of structure made. Every mix I release, I release live and on-the-fly, it’s a true reflection of what you may expect when you see me perform live.

Generally, what type of music do you play for your monthly party Eclectic Circus? Does it mirror the music of your mix in its diversity or does it generally find itself in one genre or another?

The Eclectic Circus sound is as the name implies; eclectic. I approach EC sets as an opportunity to introduce new musical; avenues and a different style of nightlife that they experience in this city and other cities. It is a balance of what’s familiar and what’s delightfully peculiar, haha. It is really the craziest party in the city. As a DJ, I feel, one has an obligation to the people to nurture them in the comfort of what they know but also educate. I love, love, absolutely LOVE to give people that “what record was that? I don’t think I’ve heard anything like it but I love it!” feeling. It was those feelings hat influenced me to further expand my musical knowledge and ultimately transformed me into the DJ that you see today

How has your crowd responded to the music? to the party?

Eclectic Circus, or EC, has been received extremely well by the people. We have a very loyal following of next generation club kids that are absolutely die-hard supporters. We have a large EC family, all of us of diverse backgrounds. I started this party in May of 2010 as a result of countless frustration with the lack of unity within the Cleveland nightlife communities. I wanted to create a party that all people could come to and, as our motto states, leave your labels at the door. Today, the primary EC family (myself, DJ Mike Filly, DJ techwizard, promoter Tom Gay, and other members of our support staff) work extremely hard to bring something new, different, and fun to our fair city We have been able to expand the EC brand to other clubs and other parties at venues in and outside of Cleveland. I am still in a state of disbelief when I realize that this is happening, it’s surreal but it’s a blessing. The primary EC party is held on the third Thursday of every month at Bounce Nightclub.

How’s Cleveland, Ohio treating you? Do you ever find it limiting or is it liberating in its own right? How has your party and your music provoked the people within your surroundings? Have you ever DJ’d in other cities? and if so, how did the environments compare/contrast?

I’m making this next statement in the most sincere manner-Cleveland, Ohio is one of the most special cities in the United States. It is one of the most challenging cities for a DJ, promoter, artist, or other creative minded person-but these struggles are what I feel to be necessary to truly understand your own integrity. It took me a significant amount of time to be recognized as a respectable DJ in this city, not that there are DJs for days in this town but the DJs that are established in this city or honestly world class DJs. To gain the respect and recognition as ‘worthy’ takes more than just the hype of the hustle, it actually takes the goods to back it. Yes, it can be crowded, it can even be cut-throat, but once you are proven, you reap all of which you sow. I’ve played and still play in other cities, large cities in which the only effort to have a sustainable nightlife is to be open. It’s nice but there is no challenge, you have a city full of as I call it-dollar bin DJs and the waters become so diluted in the nightlife that the people can’t actually discern quality from (word for garbage). In Cleveland, if you are trying to run a night or a venue that actually gives a unique club experience, you (in a Rupaul voice) better work!! At the end of the day, we’re a blue collar town that isn’t primarily influenced by avant garde culture, to think outside of the curve can be dangerous here, but I wouldn’t have it any other way. Cleveland is home, it will always be home, it will always be the city that allowed me to see just how talented of a DJ I am, I don’t plan on staying here forever (I actually have plans on leaving this city soon) but I will always appreciate and be grateful of where I’ve come from.

check back tomorrow for part two!

- Retail DJ

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What’s Good? Haruka Salt 999 (Part Two)

17 May

Continued from part one…

Did you consider the music in Chicago better?

I can’t say it’s better. I strongly believe in this: We can say an artist is better or a certain type of music is better, but it’s all about what you like. If you don’t like it, don’t fuck with it. But personally, I’m more into the Chicago scene. Everything is there, at least what I wanted musically. It’s funny because I really wanted to come to New York, but if I had skipped Chicago, I might not be DJing like this.

When I was in Chicago, I was so shocked by juke music. I never realized there was black music with such heavy electro.

I really like sexy, booty music. I love the house, soul, everything.

So you went from classical to hip hop to all these new forms of music. How would characterize your sound and personal musical preferences now in the aftermath of this exposure?

I like music that makes me shake my ass off. That’s it! [laughs] I like sexy music. Even classical music has a sexy side!

I really like Chicago House, Baltimore Club, bass. I like electro, but sometimes I really wanna shake my ass, not just jump. I mean, sometimes jumping is fine, but not all night.

What equipment do you use?

Technics only, no Gemini! [laughs] I use Serato when I play out, but I am really a vinyl person. That’s why it was hard for me initially when I first started DJing in the United States because it all costs so much money. When I came to the U.S., Serato had pretty much just come out. I wavered between shipping my vinyls from Japan or buying a computer and Serato here. It’s pretty much the same amount of money. About $3000 to get all my records, or the same price to get a computer and Serato. I decided on the computer and Serato, and I think I made the right choice.

How did you get involved in the BANANAS party?

They are my friends. There’s a big gay community in Bed Stuy. My café where I work is owned by people in that community, so it was natural for me to engage with them. I find them to be really creative, talented people. That’s why I got involved with them. They are so free and they’re strong. Even though they have dicks, something is different. I don’t judge, but how straight men live their lives and how gay men live their lives is often totally different. I’m sure that they have had a hard time in the past, so I connect with them.

I started working with That’s My Jam! through the same group, but BANANAS was my first gig. I really appreciate Jlamar and Jamie [ed. note: the promoters and hosts for BANANAS] because if they hadn’t included me in BANANAS, I wouldn’t be here. I’ve learned so many things, and that party inspired me so much. I was actually their first resident DJ. They were always switching around before me, but as soon as I got on the table, they were like, “You should work with us.” And I thought, “Why not?” I still work with them to this day.

You’re also a resident at other spots – can you tell us a little bit about those?

I DJ at Sweet and Vicious in SoHo. It’s my weekly Thursday, Friday, Saturday spot if I’m not booked at some other party. On Mondays, I play at Project Parlor. We just started that party. It’s been about a month. I wanted to have my spot, my party, to be all about good music, good people, and having a good time. You don’t have to act like you’re cool or act like someone you’re not. Just be there, same place, same time. I don’t promote hard. I just tell people like, “Yeah man, I’m DJing every Monday. Same place, same time. If you wanna come, come.”

The party’s called “Wonton Soup.” My friend Eddie, who goes by DJ Edward Swisherhands, also DJs. His music taste is amazing. He just started DJing. I believe that if you keep doing something, your skill can catch up, but you’re born with your talent and your taste. Those are things that just belong to you. I really like his music style, and I thought that he and I could do whatever we wanted to.

It’s called “Wonton Soup” because one time, he played “Wonton Soup” by Lil B, and everyone was going crazy for no reason.

We both liked the title, so we decided on that. Names often come up without some deep meaning or reason. I never look for them. It all happens randomly.

Considering you play in both the queer and straight scenes, have you noticed any differences in the crowd or the scenes themselves?

Hell fucking yes! [laughs] [Queer people] know how to have fun. No bullshit.

At some parties, people just want to act like they’re having a party, when they’re not. They are not having fun. That’s why I don’t go out as much because when a party is like that, it’s a waste of my time. I can go to a club and hear an amazing DJ, playing great tracks, but the vibe is so whack. I think, “Why are you all just sitting down and looking at me? Why aren’t you dancing? Why are you here?!?!” I see that sometimes in the straight scene. They might be there to look for music, but most likely, something else.

Not all straight parties are like that, of course, but there are still some differences in the vibe. I mean no disrespect to any scene. The queer parties just seem more real, but every scene is different. Even when it comes down to what I play. How I choose music is totally different depending on if the party is gay, lesbian, straight. I pretty much go on the vibe I get from the people. If there are people shaking their asses, I go hard and play music for that, but if they don’t know how to, or if they seem like they want something more mellow, I go with hip hop. I used to prepare my sets, but now I just read the crowd.

When I was in Japan, I always wanted to be prepared. But one day, I just realized that had to change. Your set is just in your house, for yourself and for your imagination, but that’s not real. Making a set makes me feel like a novelist. It’s like work. I don’t like to do arts to make money. I am making money right now, but I never do it for money. I do it for fun.

One day, I lost my job, I got hit by a car (all in one day) and I had to really begin to sacrifice. I thought to myself, “What can I do to survive here? All I have is Japanese and DJing.” When DJing becomes your job, it’s kinda hard, but it helps that I love doing it.

It’s hard to enjoy going out sometimes, though, because as a DJ, you’re technically always working. No matter what, you’re DJing. Like if I go out, and I hear a new song that I really like, I think, “I need that!” There’s no time for me to purely enjoy somebody’s set. It’s mental work at all times, especially if the other DJ is really good.

Do you find anything particularly challenging about being a DJ in NYC?

To me, it’s the easiest place. Everything is here. The most important thing is you, making the choice as to where you want to play. You have so many choices. Where I’m from, we didn’t have as many choices. New York is the best place to be a DJ. Yes, it’s a hustle because so many people want to do it, but if you know where to go, everything is easy. If you want to do it, just do it.

I remember when I first met you, you were wearing these baggy pants, a side ponytail, and huge glasses!

I looked like a nerd, yo! [laughs]

And I remember the first thing you said to me after I introduced myself was “Do you DJ?” And I said, “No, I just interview them,” and you encouraged me, saying that I should really look into DJing. Did anyone provide you with that type of push or encouragement along your journey to become a DJ?

No one, really. I don’t like people forcing me to do things! [laughs] I have a strong personality.

When I DJ, people are usually shocked because it doesn’t look like the music could come from me. I remember once that I DJed at this neighborhood bar with mainly black patrons. I showed up with big glasses and a crazy outfit, and people were shocked at what I played. I blew their mind. In the end, they really liked me. That’s kind of my secret enjoyment – surprising people with what they least expect.

- Retail DJ

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What’s Good? Haruka Salt 999 (Part One)

16 May

photo courtesy of Akiko Higuch

The first time I met Haruka Lynn Sakurai, better known among her club followers as Haruka Salt 999, she was rocking a side ponytail, sneakers, and a getup that would make Punkie Brewster the most jealous girl on the block. Despite her playful look, her music was nothing to mess with. Haruka dropped more heavy beats in the matter of 45 minutes than many of her male counterparts could even graze that night.

Haruka has more tattoos than I can count, but at the end of the day, loves looking and feeling ultra-feminine. She started with classical, but has made hip hop with hood roots her music of choice. Despite her petitie stature, she comes off as tough, but her infectious laugh instantly gives away her sweet side. But the key to truly understanding the woman behind the decks lies in not being confused by all these paradoxes of personality, but instead appreciating all the juxtpositions at play.

Haruka hails from Fukushima, Japan, but has followed life to Tokyo, Chicago, and finally New York, where we had the opportunity to sit down with her on her birthday a few weeks ago. While at her BedStuy apartment, which is painted bright red and decorated with her favorite records, we were joined by her adorable (and, might I add, well-dressed) 4-yr old Chihuahua DJ and had a chance to hear Haruka’s story with her mixes serving as a soundtrack. Now the resident DJ for BANANAS! Dance Party and a fixture at many clubs around NYC, Haruka spends most of her time working and prefers low-key get togethers in the place of major blowouts. But don’t let her laid back vibe fool you. Haruka is full of energy and her music is no different.

But enough from me. Take a moment to find out What’s Good with Haruka Salt 999:

How did you come up with the name Haruka Salt 999?

It’s from my best friend. He’s also a good DJ – one of my favorite DJs. We were not feeling each other at the beginning, so for about a month or two, we didn’t talk at all. But all of a sudden, he came up to me like, “Hey – what’s your sign?” I said, “Taurus.” Then he said, “Really? I’m a Taurus too!” So I said, “When is your birthday?” “April 24^th, yours?” “April 24^th” That’s how we started to get to know each other, then it led to music.

One day, he asked me to DJ with him for a houseparty in Bed Stuy. The houseparty was amazing. The place was a brownstone with three floors and a rooftop. Everybody was there; it was packed! Anyway, before the party, we were thinking about making flyers, so we knew we had to put my name on it. We just didn’t know what it was going to be. Akasha (that’s his name) was like “Haruka, no one can pronounce your name right. How about Haruka Salt?” I was down.

Then next thing, we were talking about the necklace I had bought on the street for 50 cents a few days before we hung out. He thought it was cute and I told him I had bought it just 50 cents. But when I turned it over, I say that it said, “9.99” on the back (that used to be the price). So he said, “What about Haruka Salt 999?” So since then, my name has been Haruka Salt 999 [nine-nine-nine]! [laughs]

That was around 2007, right after my life really started changing. Things were going bad, so I changed my job and started working at a café, which is how we met.

You used to live in Chicago, right? How did you go from Japan to the U.S. and from Chicago to NYC?

My life is like a comedy! [laughs] It’s just crazy. Sometimes, I just think, “How the hell did all this shit happen to me?”

Basically, in 2001, I came here – right after 9/11. Since I was into black music – hip hop, soul, r&b – I always wanted to see what was real. Music is all about personality, what your life is. You can’t fake it. I mean, now it’s kinda fake, but back in the day, you couldn’t fake it. For example, if you have money, you can make a song that’s more for luxury, but if you don’t have money and you live in the hood, you sing about how hard it is, how tough life is there.

I was feeling it, and I always wanted to come [to the U.S.] to see what the “real” is. In Japan, nothing is going on – there’s no hood. I was listening to hip hop, but not really. I wanted more. Finally, I came to NYC to visit. I went to parties and thought, “This city is for me. I should come back to live, not just to visit.” I needed to come back to live in order to feel and experience exactly what I wanted for my life and for my music.

But I was in Tokyo DJing, partying and whatnot, and I met one guy, got married, and ended up moving to Chicago. I really wanted to be in New York, but I kinda gave up. I mean, I was married. Marriage is not a party! [laughs] Every day was the same, but unfortunately, that was not what I wanted. Marriage was not for me. I decided I was going to move to New York. I knew I could do it.

I didn’t give up on what I wanted.

What about Japan? What was your involvement in music there?

I had been DJing there since I was about 14. I was always engaged with the music scene. I started off playing the piano and the violin. I was more of a classical music girl. I never thought I’d get into hip hop and other types of music because I was all about classical.

But to me, music is music. Music relates to life, how you live, where you’re from.

My first cd was Crazy, Sexy, Cool by TLC. At that time, in the mid-90s, some people in Japan were already going hard on hip hop music. Right now, reggae and hip hop are really popular over there, but back in the day not as much. My boyfriend at the time was listening to hip hop and I realized that I kind of liked it. Next thing I knew, I really started digging it.

After that, I started buying records. The scene in my city was really deep. Pete Rock even came over. Music-wise, my hometown (Fukushima) is like the Japanese version of Chicago or Philly. It’s not like New York (which is more like Tokyo). There are so many good artists and DJs. The music scene is very underground, not commercial. The people know what’s up.

To Be Continued . . .

Check back tomorrow for part two!

- Retail DJ

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What’s Good? Eastern Bloc

17 Mar

Dash Speaks

We worked with Dash Speaks before, profiling him mainly for his DJing and production work, but he also happens to be an acclaimed lyricist and rapper. His newest EP Eastern Bloc sends us on a trip to the USSR and its aftermath, with moments of emotion, triumph, and humor. Though he admits it’s something that he “didn’t make [...] to get famous,” and recognizes that the musical diversity exhibited by the EP makes it a bit difficult to promote on the blog circuit, it’s the passion and diligence he put toward Eastern Bloc along with the excellent storytelling that makes it so easy to appreciate. I had the opportunity to talk to Dash about his inspiration for Eastern Bloc and the process of doing literally everything for the EP. Here’s what he had to say:

(more…)

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What’s Good? DJ Whitney Day

23 Nov

DJ Whitney Day

Nowadays, DJs are a dime a dozen, and with quicker and easier access to new forms of DJ equipment, more seem to pop up each day. One of the oft uttered criticisms of the hundreds of new DJs coming up out of the woodwork is that they don’t know music. Fortunately, there are outliers who consider music their main focus. While there’s certainly no shortage of DJs who list music as their ultimate motivation here in NYC, within that group, you can dig even deeper and find DJs and producers who see their job as an expression of themselves, an art they can manipulate and use to truly reach their respective audiences.

DJ Whitney Day is one such person.

A native New Yorker, Danna Whitney Rosenthal found her start in classical music and music production, but in only one year of having gone public with her turntables, she’s truly become a force to be reckoned with in the club scene. Fortunately, her popularity hasn’t been to the detriment of her personality. With “Day” as her nickname, Danna’s outgoing and positive demeanor is truly a ray of light in a field where inflated egos and shady deals remain the norm, and her sets tend to be a direct extension of self, with pop, soul, classic disco/funk, and house woven into one another, folding the crowd into a sonic warmth from start to finish.

Though she’s leaving to spend some time South America in the next few weeks, you have some time to get to know her before she jets away for a bit. So if you can’t wait and want to see What’s Good? with DJ Whitney Day before her return, you know what to do!

What’s Good? DJ Whitney Day

(click to play; click the small arrow on the right to download)

background music: Roundtable Knights – Autumn Mix 2010

- Retail DJ

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What’s Good? WooHoo

15 Nov

WooHoo

Have you ever had a hobby that turned into a passion, which then turned into an actual career path? The answer for the average person is often no, passion-fueled professions being the stuff dreams are made of, or at least really good movies. Fortunately for some, occupational bildungsroman is a reality, with the artist evolving personally and professionally as a side interest soon becomes a main focus. This was the case for NYC-based DJ and Producer: WooHoo.

Known to family and friends as Charles Hendricks, WooHoo spent his formative years playing the violin and finding inspiration in everything from soul music early techno. But later down the line, after saving up the funds, he tried his hand at turntablism. Luckily for us, he hasn’t looked back since.

Known for channeling the spirit of French house in his productions and allowing his sound to oscillate from dance rock to tech house in a mix, WooHoo is hard to put in a box. As he dabbles in so many different genres, his only rule seems to be to make his audience have a good time. In fact, his DJ name is quite appropriate for his work, as everything he plays will make the crowd joyous on the spot.

But don’t be fooled by the light-hearted moniker. Charles takes his music seriously. He has dedicated an enormous amount of time and energy to perfecting his craft, putting on a good show, and releasing innovative tracks for a musically-starved public.

That said, let this be the first step in getting this week’s sonic sustenance and come with me to find out What’s Good? with WooHoo:

What’s Good? WooHoo

(click to play; click the small arrow on the right to download)

background music: Nacho Lovers – Deeper Promo Mix

- Retail DJ

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Winter Casting Call

26 Oct

Dear DJs and Designers,

I want a piece of you . . . or at least a few photos and some ear candy. If you or someone you know would like to be featured on Retail DJ, please send an email with a little information about yourself, your work, and a sample or two of what you do (i.e. a soundcloud page link, etsy page, etc) to: retaildj@gmail.com.

I’m doing my own search as well, of course, but I’m all about self-nominations too! So don’t be shy! Send me your stuff and brag away.

- Retail DJ

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What’s Good? Lil Ray

11 Oct

DJ Lil Ray

When you first look at Rachael Spiewak, better known on the music scene as DJ Lil Ray, you’d first be likely to see her social work roots. But after catching a mischievous side-glance, you’d know that her mind was somewhere else. Though she started out in fundraising for non-profits and community organizing, Southern born and bred Lil Ray ended up venturing down another path. Armed with music as her weapon of choice, Lil Ray battles the tough and sometimes unwelcoming NYC club and bar scene with an energy and devotion to her craft that is unrivaled. Lil Ray hustles like no other, DJing bars, clubs, and shows on a nightly basis for weeks on end. For Lil Ray, DJing is her art, but also her full-time profession.

In full American Dream style, Lil Ray moved from NYC to Atlanta with her turntables in tow, an Amtrak ticket in her pocket, and a whole lot of hope, and her still being here is a testament to not only her work ethnic, but also her talent. Combining a variety of genres from hip hop (her true love) to house, a set by Lil Ray never fails for disappoint and lights the fire under the feet of even the most immobile New York club crowds. So don’t hesitate. Come with me to discover more about the DJ whose name may be li’l, but whose sound is very big. Click play to find out What’s Good? with DJ Lil Ray:

What’s Good? Lil Ray (Exclusive Interview) by RetailDJ

(click to play; click the small arrow on the right to download)

- Retail DJ

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What’s Good? Elin Nyström, Founder of Stylein

29 Sep

Elin Nyström, Founder of Stylein

“The simple things are the hardest to do,” remarked Stylein founder Elin Nyström, while sitting gracefully on the concrete platform outside of the Rendez-Vous New York contemporary fashion fair in one of her own designs. It was Wednesday, September 22nd, the last day of the fair, which united dozens of designers, press, and hundreds of buyers from around the world. While the rest of the designers were breaking down their racks and packing up for the night, Elin decided to take a cigarette break with Retail DJ.

With her small cup of celebratory champagne in hand from having made several essential sales, Elin shared her inspiration for the Stylein Spring/Summer 2011 collection, her take on modern yet simple style, and the history behind her line. Clean lines and smooth fabrics are key for Stylein, but Elin warns that “simple” shouldn’t be interpreted incorrectly. Simplicity, she notes, is something people need to respect more in fashion, particular in that it provides the wearer with “variety and space to add the styling herself,” something that’s missing in so many lines as of late with such inflexible, era-specific trends.

The growth of the line in less than a decade is a testament to the strength of Elin’s vision and Stylein’s versatility over time. Though Elin sells at several boutiques in the US (in NYC, for example, her pieces can be found at Eva NYC, Sweet Orchid, and soon, Oak, among others), Stylein is already a household name in Sweden, particularly Gothenburg, her birthplace and home to the official Stylein concept store. Beyond Sweden and the US, Stylein can be found throughout Europe, North America, and Asia, with continued expansion in the works. Yet despite all this success, Elin remains grounded and a true example for people trying to make a living out of their creative passions. Much like the mantra she reminds her interns to follow, Elin sees the opportunity before she sees the obstacles, and fashion world is much luckier for it.

So press play and take a moment and find out What’s Good? with Elin Nyström, Founder of Stylein:

What’s Good Retail DJ Interview of Elin Nyström, Founder of Stylein by RetailDJ

(click to play; click the small arrow on the right to download)

*music: La Fleur – Plant House Mix

“A big part of styling is what music you present it with. . . Music, art, and fashion are all similar ways of expressing energy. Music is one of the most important elements in life. To present a new collection, we always do it through the catwalk, and a very important angle is how you present it through the music.”

“We tend to have this one side that is very feminine and very sensual . . . and then there is a side that’s…a lot more urban…almost punk rock-ish. They create a beautiful contrast. There could be a harmonized meeting between those two sides.”

“In the beginning, it was very playful; very creative in the way that I was not really thinking about a market at all. . .more inspiration clothes. But nowadays, it’s a line that’s working in the stores.”

“I work a lot with energy and life in general. The energy of Spring/Summer is smooth harmony, and luxury.”

“I never want to present anything that I don’t believe in 100% . . . I only do designs that I would wear myself.”

“I think there is a need to have things that are consistent, not the mass-production, easy buy, fast buy, something you buy and throw it out a couple of weeks later. Some of the us in the business are really seeing the potential of doing clothes that are going to be fashionable and beautiful in 7 years . . designs that are kind of classic.”

“Before, I wasn’t really comfortable being the image [of Stylein]. I wanted to be in the background. But I realized that in order to do this, there definitely has to be storytelling, and I’m comfortable with that now.”

(more…)

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What’s Good? L_cio

13 Sep

L_cio (photo credit: Mauricio Landini)

The first thing I thought when I saw L_cio perform at Vegas in São Paulo a month ago was “intense.” With the light from the screen illuminating his face and his dark eyes penetrating the crowd, he looked as if he were casting a spell on the dancefloor. Though despite the depth of his performance, Laércio Schwantes Iório is surprisingly laid back. His post-show demeanor is light and friendly, and once he cracks a smile, you realize that the man you just saw on stage, while a force to be reckoned with, is quite human too.

Though trained as a flutist, and having grown up in a household with parents in classical music, L_cio took a different path, though continues to cite his upbringing as having a critical influence on his music. As a part of the ever-growing, ever-changing Brazilian electronic music scene, L_cio strives to constantly create new music. He challenges fellow DJs to push the envelope and to go beyond the confines of what he considers “colonial” thinking. And L_cio has done just that, himself an anomaly in that he began as a producer and not a DJ. All of the music he plays out live is original and often times put together on the spot creating Live PAs (in other words, improvised sets of his productions).

Though L_cio leads a different life by day, it still goes without saying that his influence both in and out of the club is immense. He has been recognized by and released music through sites and labels all over the globe, including but not limited to Brazil, Italy, Spain, the United States, and many many more. His minimal yet profound style is what sets him apart from many artists now attempting to go in the opposite direction, and he proves that sometimes more can be heard in a whisper than in a yell.

That said, it’s an honor for me to present the exclusive Retail DJ “What’s Good?” interview of producer, creator, and innovator L_cio:

Why L_cio? You have a beautiful name, so what made you choose to shorten it in this way? How is your artist name pronounced?
L_cio is just that – an abbreviation of my name (Laércio). If you were to say this aloud, however, it’s more difficult, but I suppose it could be said like “Ele cio” or “El cio.”

I’ve read that your parents were classical musicians. Based on that, how did you end up going into playing and producing electronic music, which is quite far, musically speaking, from classical?
This greatly influenced me and my work, especially in terms of melody. Electronic music production is quite different, but through it, you can appropriate from many different sources, including classical music.

How would you describe the music that you make, and in your opinion, how does it affect your listeners? Do you think the experience is different for those who solely listen to it vs. those who are dancing to it?
Describing my sound is a bit difficult, but I would characterize it as Brazilian electronic music. Listeners take a while to get used to my sound, but after they begin to feel the music and understand the idea behind it, they react positively, especially when I use vocals and piano samples. Listening at home and listening live are certainly very different experiences, but in both cases, one has to ease into my sound calmly and attentively.

When we spoke before, you mentioned that you had produced all the music you played during your set at Vegas. Do you always play your own music or do you occasional play the work of other artists/DJs?
Yes, that’s exactly what I play: Live PAs. I only play my music, but I began in electronic music on the production side (differently from many producers who began as DJs). I’ve never played a typical DJ set, only live PAs.

In your free time, what type of music do you like to listen to? Does this music influence what you play/produce? Are there any other sources of inspiration beyond this?
I listen to lots of electronic music and original funk. In the end, everything influences what I produce and play in some way. But in general, my inspiration comes from my life, from the experiences I have. I would also say it comes from poesia concreta and religion.

How would you describe yourself, personality-wise? Do you think your personality on stage is different from the one outside of it?
I think I am a down-to-Earth and sincere guy, and this is reflected in my shows, which are also very authentic (in that they involve the music that I have made myself).

promo pic from his "Capoeira" single for shhh.fm

What do the tattoos on your hands mean? I saw them and found them very interesting, but I kept thinking what could they mean?
The tattoos on my hands actually don’t mean anything. It’s just something I created for aesthetics.

Do you have any others beyond these?
I have more tattoos elsewhere: one on my leg (a bar code with my birthdate and the birthdate of my daughter), one on each arm (poesia concreta by Pedro Xisto), and one on my back (an electroacoustic score by composer Flô Menezes).

I’ve noticed that the electronic music that seems to be the most popular in Brazil is still a bit “cheesy.” Do you find this to be a challenge or something that you ignore completely? Do you think there are enough people with minds open enough to change the state of the electronic music scene there?
The Brazilian music scene is super interesting, but it still needs to create its own personality or identity. Honestly, we still have quite a bit of “colonial” characteristics. Few places in the country provide the opportunity for growth of new things. Fortunately, I have had a few experiences that give me hope that one day, we will have our own scene, one that’s exclusively Brazilian and authentic. Yet there are also ready various producers and DJs who are coming out with very good, innovative work (like Holocaos, Bmind, Cavalaska, Oblivion, and Dada Attack, among others). But we still need to move forward and progress quite a bit. It’s truly a challenge. . .

(more…)

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What’s Good? Ka§par (Part Two)

10 Aug

Photo Credit: Valeria Galizzi

Continuing from Part One of the Retail DJ Exclusive “What’s Good?” Interview of Ka§par, Part Two shows Pires’ roots. With an early involvement in the music scene and an ever-developing taste, Ka§par understands the significance of history, culture, and state of mind as the foundations of one’s appreciation of sound. Tracing his early exposure to kuduro, soul, hip hop, and other forms of black music, Ka§par charts his connection to modern house and other music that cites similar origins. Though serious and contemplative, Ka§par also has a fun side, as evidenced by his recovery from gig bloopers and his ability to step back and have a sense of humor about himself and others’ perceptions of him, no matter how lacking in accuracy they may be.

For part two, I’ve also included the beautiful work of Italian photographer Valeria Galizzi, who was kind enough to take time from her busy schedule in order to conduct this shoot, as a visual narration for Ka§par’s words. So please join me to find out What’s Good? with Lisbon-based DJ, producer, and free-thinker Ka§par:

Was mamilo.org your idea? If so, how did this come about and what has your involvement in the project been like?

Yes, “mamilo.org” came about to fill in a gap in Portuguese culture that was the absence of a proper visible platform that showcased a DJ mix as a form of art. It was developed by myself and António Alves (Jackzen) some four years ago. As you can see, it’s not something we can absolutely commit ourselves to as our own separate lives often take up some of the necessary time to keep it regular and stable. But we are quite happy with the feedback around it and with the attention it got. We just record whatever we want and let people enjoy the older things we love and that built our character, as well as modern music we find appealing and promising. We respect each others’ choices and ambitions regarding our choices (António is much more a full-on house DJ than me. I try to be less formatted and make different types of sets, but still remain as true as possible to my background in house music and its production).

Photo Credit: Valeria Galizzi

How has the influence of music from other countries affected the audiences for whom you play and the sets you choose to appeal to those audiences?

Culture is the number one concept that is important when you DJ. Every nation has its own collective identity, and even within a nation, you have a lot of regions where there are particular types of behaviors and reactions to music. In Portugal, the crowd is generally shy and has a hard time “attacking” the dancefloor if it’s still empty no matter how good the music is, while in the States, you just drop a decent song and everyone gets their groove on. Often what happens is DJs are playing like the party is going down on the floor, when it’s still inside people’s heads, until some crazy geezer decides to break the ice, and then everyone else does the same.

I can tell that American music has permeated throughout the whole world like no other, possibly because its genesis is very pan-cultural and has something for every creed, nation and ethnicity, and of course, Portugal is no exception. But I’d say the UK has a strong bass-driven identity that can easily be crossed over with the more soulful and song/lyric-based American counterpart, and here in Portugal you can also feel the presence of African music (mainly because of our country’s presence in Africa up until the mid-70′s) and Brazilian was well. Actually, modern Portuguese music incorporates a lot of African elements into it – just check out Buraka Som Sistema! Some of my first music was co-written with Kalaf and J-Wow, when they where anonymous artists trying to make it, but once they embraced the African heritage, things just exploded for them. Curiously, my first ever production work to get released was a kuduro album I did when I was 14 in 1996, way before BSS ever came about . . . this is because I grew up in a suburb where there were a lot of black kids and black/African music was very present.

Photo Credit: Valeria Galizzi

Do you have any funny/strange stories of things that happened while you DJ’ed?
Damn, I must admit to leading a life that is very prone to funny stories. I’ve had a lot of funny things happen to me during the course of this adventure. One time, I was playing and my pants tore from knee to knee when I kneeled to pick up records. Portugal had just beaten Holland in the Euro, thus making it to the finals, and as an oath, I was not wearing any underwear!

One club I play in, Level Club, has a very funny crowd (I mean, a lot of people are still stuck in the 80′s) and I get the funniest requests when I’m DJing and that always cracks me up. Also, I once had to DJ with a microphone instead of headphones because my piece got broken halfway through the set… another time I dropped a whole drink on top of a bald guy by mistake in Frágil (the booth is one floor above the crowd). Last week, I tried to offer my latest 12” to Alex Barck from Jazzanova, but he already had it in his bag (that was an honor). Plus a lot of funny things happened when I was playing under the influence, but I’m not sure I want to go on record on those… (blush)

Photo Credit: Valeria Galizzi

You are fairly young, but your music has reached a lot of people. How have you personally dealt with fame and having a job that requires you to be so public?

You know, I’m not so sure that’s true, as flattering as this question is. I know there’s some attention regarding my work, but it’s still very centered in people who research releases and aren’t solely caught up in the latest hyped-up names. Some of my releases went down pretty well in record shops and got great support from a lot of the people I spoke about (I remember one time actually hearing Derrick May play my record, and another time Moodymann played a track from my album – still unreleased to this day). And that was a big surprise . . . But I still have a long, long way to go to get the recognition I hope for, especially from Europe (because, funny enough, some of my biggest supporters are in the States).

I was very happy with having gone to Seattle for the Red Bull Music Academy of 2005 (especially because I was one of the youngest in the group at the time), and currently I’m also proud of my work with Rui Torrinha, in Groovement, and with Gerd in 4lux and Clone (in Holland), but that doesn’t mean I’m well off, nor that I feel like I’ve reached my full potential at all!

I must transpire a lot of self-confidence (although I’m not really that strong inside) because people who don’t know me usually judge me too quickly and say I’m probably an arrogant dick. I must say in my own defense that it’s not an adjective that describes me well. I can understand why that gets said, but really, I always try and help out people with talent that are just getting started, either by trying to release their music on Groovement, or by introducing them to the game, helping out with first gigs, and so on. So, I don’t let success (the little I’ve got so far) get in my head at all. I’m as I always was: a perfectionist and an obsessed geek, but also an accessible friend, a free thinker and one who is never unavailable or self-centered.

Photo Credit: Valeria Galizzi

How has your job, if at all, affected your loved ones and the relationships you have with others?

Well, I keep myself surrounded by people whom I believe are good friends, and feel strong support from my family as well. I guess when you show results, and that you’re not just wasting your life away, it’s not impossible to make things work on an affective level. Of course it took me a while to get to finish my degree because of how consuming nocturnal life often is… and my parent were worried often times, but I think I made it through in time.

Photo Credit: Valeria Galizzi

What is your “day job,” or, in other words, how do you spend your time when you are not DJing and producing?

I have a degree in psychology, but I don’t practice. I had great fun studying it, but it’s really not my life’s dream to be stuck in an office all day long. My parents are both doctors and they are the people whom I love and respect the most, but I grew up seeing them a couple of hours a day because their work was so demanding. I chose a path that allowed me the freedom to work on my own terms. So, in truth, I spend my days doing many things aside from writing and producing, or shopping for music and organizing my bags: from managing Groovement recordings with Rui Torrinha, Beat Add Ventures recordings with Cheeks, booking parties, promoting my music, responding to emails and generally stirring up local talent. It might not sound like much, but believe you me, I’m usually quite busy doing what I like.

Photo Credit: Valeria Galizzi

Who are some up and coming Portuguese DJs you’d recommend?

It’s a very tricky question, I get along with most of the DJs/producers here, and have a fairly decent friendship with most of them, so I’ll just drop some names that people can follow up on. Guys, please don’t get mad at me if I forgot someone. These people do many different things, some of them I ‘m not really into that much, but I still respect them immensely for doing what they believe in.

So here goes, and in no particular order some of the people who where able to break through, or will one day, I think, do so: Tiago Miranda, Ride, Photonz, Yari, Johnwaynes, ZNTN, Rui Maia, Portable (he lives in Lisbon) Johnwaynes, Calapez, Moullinex, Discotexas, Social Disco Club, Jorge Caiado, Infestus, Unite, Dedydread, Vahagn, Alkalino, Pedro Goya, Magazino, João Maria and Bloop, Ramboiage, H.O.R.S, and many others, to whom I apologized in advance for not having thought of. Some great DJs also include Pedro Tenreiro, Rui Vargas, António Alves, Rui Murka, DJ Al, Mr. “Daddy” Cheeks… That’s all I can think of, off the bat.

Photo Credit: Valeria Galizzi

What is your favorite place in Portugal thus far to DJ?

It as to be my “baby”: Frágil. I’ve played there since I was16. I’m 28 now and it’s still the most amazing place to DJ in. It’s a gay friendly club where people REALLY get down. I never went to the Garage, but I can imagine it’s the closest thing you can get to that feeling in Portugal and probably in Europe. I’d compare it to Panoramabar in Berlin, the vibe is really humane and uplifting, and you can get away with almost anything if you play your cards right.

Of course, the dancefloor level in Lux has a very intense feel to it, when the crowd is up for it, and there’s a lot of other places where you can do great gigs too, like Trintaeum, Pitch or Gare in Porto. There are a lot of quality spots, it’s just that the public is often “anaesthetized,” especially since this whole “maximal” thing came about. That’s why it’s so good to play during the summer, because of all the tourism – foreigners usually don’t feel as shy as the native crowd.

Photo Credit: Valeria Galizzi

Are there any other places you’d love to DJ one day in the future?

Hell yeah! I need to go outside more, experience Japan, Berlin, New York, London, behind the decks more often. Different people and places always excite me, and I think I’ve gone through all I could here, from small intimate venues, to huge festivals. I’ve played abroad on occasion, but I hope my next releases will help me get the exposure I need to make this happen on a more regular basis. God knows I’m ready for it… (I feel like I should have one of those Dr. No style evil laughs to complete this thought).

: Photo Credit: Valeria Galizzi

How does DJing and producing music make you feel and would you recommend the career to others? What has been beautiful about the experience and, on the other hand, challenging?

Well that’s as broad a question as they come… It would take me forever to answer that fully. But the most rewarding thing in this line of work is to see someone you admire playing your record or your track. I got involved in production and label management very early on, in my late teens, and I did it so I could have a stronghold, a platform to further express myself. This came to a real palpable result some six years ago when we released Groovement’s first 12”s. I got involved in promoting music via the net with “mamilo” and producing parties to further expose these concepts as well. So, my advice is be perseverant. Don’t let others bring you down or tell you how to do things. Be as much as you can be, and try not to be pigeonholed. Try to know as much as possible of what’s around you and what other people are doing, because it will only enrich you.

The most challenging part of this journey is dealing with jerks and jealous evildoers, people who won’t pay you what you deserve and that suck your enthusiasm and life energy to sustain their own miserable and insecure existence. All you need to do is to avoid them, focus on your vision and persist as hard as you can, and one day things will happen. Don’t let others abuse you or your work. It’s not like you want to be America’s Next Pop Idol. This is an industry that works for people who are creative! And the more personified and unique your point of view, the more chances you have of one day people catching up to what you are doing.

Look at Kenny Dixon! It took him almost twenty years to get fully recognized as he is now, and there are many such examples. One time flings and hits come and go, but real supported, self-sustained and independent work is outside the confines of time and memory—it’s valid eternally. So, in the words of James D. Train “sky is the limit when you know you must keep on, just keep on pressing on”.

All photos courtesy of Valeria Galizzi: myspace | facebook

- Retail DJ

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Categories what's good?

What’s Good? Ka§par (Part One)

9 Aug

Photo Credit: Valeria Galizzi

If I were given only one word to describe João Pires, better known as Ka§par in the music world, it would be profound. He is deeply passionate about music, something that comes across in more than just the words he has to say about it. He expresses his love for music in the way he mixes and what he produces as well, combining his savant-like obsession with sonic beauty with a keen ability to read a crowd and understand his listener.

I was fortunate enough to come across some of Ka§par’s work years ago and continued to follow his contributions to the music world through the present, being sure to share it with you, but also with my own motives: to find out what made the man behind the music tick. It’s truly an honor to know that my guess about his character, at least in the sense that he is introspective and connected to music at an indescribable depth, was right. He devotes serious time and energy to making music, yet has no qualms about raising up the talents of others–fellow DJs and peers– as well as his many sources of inspiration and musical greats.

With great pleasure, I invite you to come along to find out What’s Good? with quite easily one of the most talented DJs in Portugal, Ka§par:

What is the first piece of music you purchased with your own money? and what is your first musical memory?

My first record (bought with m own money), as far as I can remember, must have been one of the following: Black Sheep’s “Strobelight Honey,” A Tribe Called Quest’s “Can I Kick It,” or Jazzy Jeff and the Fresh Prince’s “Summertime”—maybe all of the above at once. I think I was 8 or 9. Before that, I remember long drives in my parents’ car on our way to Algarve (for our usual vacation), and one particular mixtape that my dad recorded (that featured Kraftwerk, Giorgio Moroder, Carly Simon, The Temptations, Simon & Garfunkel) was the resident 90 minutes that soundtracked the journey. Also, the original score for American Graffiti was an early classic for me as well—especially Booker T & the MG’s “Green Onions,” which is still one of my all time favorites.

What about your childhood or adolescence do you think influenced you to pursue music as a career? In particular, what attracted you to electronic music (especially house) as your choice genre?

Well, I spent most of my childhood hooked on music. I got a guitar for my eleventh birthday, but I had to give it up after a while, the keyboards came easier to be (Casio portasound series hurray!). I learned to play music and compose before anything else… but I never took lessons. I had my own writing method for when I was a kid and all that!

Then came hip hop and electro (classic electro) a bit after. I was doing all the breaking and pop lockin’ in school… I guess I was probably the first b-boy in my home town. But one day I caught a snippet of a house radio show in the early 90′s (probably 93) called “Dancefloor” by DJ Vibe. I was star struck. He became my biggest hero. His mixing and [track] choices were off the hook. That was the first time I heard real underground house. A lot made sense that night… the repetition, the rhythm, the hypnosis, the sensuality, the introspection. Of course I was never exclusively committed to house. I’m a music lover, and my record collection is over eight thousand and counting, so imagine how boring my life would be if I had eight thousand house records! I’m into all types of music, although house and its derivatives come easier to me.

What type of music do you listen to in your free time, and who are some of your favorite DJs/producers/singers, etc?

I like to take some time every week to listen to a lot of real old music… jazz, and jazz funk (Hancock, Duke or Scott-Heron), old kraut rock and German electronics (Can, Schultze, Goetsching, Baumann, Kraftwerk), dub (Bill Laswell, Mad Professor, Perry), Brazillian music, hip hop, urban music, I.D.M., but it’s not fair to over-categorize. I buy a lot of music every month. Not all of it is dancefloor-oriented. I think I’m quite savvy on modern music, but I’m also very picky and suspicious about it, as my experience tells me that hyped-up music tends to be forgotten easily, leaving you with a useless piece of vinyl.

(more…)

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What’s Good? Amylulita

20 Jul

Amylulita Manzanita

Referred to as “Manzanita” (“Little Apple”) by her Spanish friends and a rockin’ DJ by her American ones, Amylu Meneses, better known as Amylulita, is one of the co-founders of Nacotheque, a well-known alternative Latin music party, and Le One Night Stand, a hidden gem of the New York nightlife that has come and gone. With her extensive knowledge of international party music, classic films, and kitsch, Amylu is a bit like nostalgia personified, with the pinup wardrobe and memories of world travel to match.

A fixture in the New York alternative party scene, Amylu has a long history of adding something new and different to what would otherwise be typical weekend fare. Though she grew up in Connecticut, you’d never guess it from looking at her beautiful tattoos and bold hairstyles, and certainly not from her music collection, something in which she places a great amount of diligence and pride.

It was truly an honor to have her take time from her busy schedule promoting events, organizing parties, and making what seems like a 5 mixes a minute to sit down with me back in May to talk about what led her to DJing, her involvement in the NYC alt party scene, and her consciousness of global music.

But Amylu is someone who hardly needs an introduction. I’d rather let her words speak for themselves. So take a moment, press play, and come with me to find out What’s Good? with la princesa of parties, Amylulita:

What’s Good? Amylulita (Exclusive Interview) by RetailDJ

(click to play; click the small arrow on the right to download)

photo credit: Dulce Pinzon

background music: La Fleur – Country House Mix

- Retail DJ

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What’s Good? DJ Tanner

16 Jul

DJ Tanner

On a humid, drizzly day in June, Jenna Weiss-Berman, AKA DJ Tanner let us invade her apartment in Brooklyn to take some pictures and play 20 questions. Creative and determined to provide fun dance parties for her NYC comrades, DJ Tanner is putting the emphasis on music back into the NYC fete. With her love for new wave, indie dance, and Italo-disco, she adds an interesting spin on the party scene, particularly the queer party scene, which she notes has been particularly lacking in the music and dance department. Though “grassroots” is the best adjective to describe her approach to party promotion, Rumours, the queer dance party she started with a friend, is quite popular among hip lesbians, transmen, and their gay, bi, and straight allied partygoers. While she cites the power of facebook for Rumours’ success, DJ Tanner doesn’t hide behind a computer screen. With her mellow demeanor and humor, her friends and colleagues can provide real-life backup to all the internet fame.

I’m also happy to announce that DJ Tanner played guinea pig as one of the first interviewees to go completely on the record by having our convo set in stone as a podcast! So take a moment, click play, and find out What’s Good? with party promoter and music selector DJ Tanner:

What’s Good? DJ Tanner (Exclusive Interview) by RetailDJ

(click to play; click the small arrow on the right to download)

background music: Mowgli – June 2010 Mixtape

- Retail DJ

p.s. My apologies for the cell phone update sound and slight buzz of the fan!

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What’s Good? Mark LaRush (part three)

15 Jul

photo credit: Ashley Anderson

. . . continued from part two

You mentioned that you had hundreds of sets. In terms of your preparing for a night out, what do you do? How do you pick your music?
I Shazam everywhere I go. If someone’s blasting a song from his car that I don’t have, I’m standing next to the car Shazam-ing it. [laughs] And they’re looking at me like, “What’s this guy’s problem? Is he crazy?!?!” But yeah, everywhere I go. At clubs, I Shazam. At the deli, they’ll be listening to Spanish music. I’m Shazam-ing. So that’s how I prepare for my sets. I download a lot of music from the internet as well—legally of course.

I get a lot of things from the web, the rare stuff. There are so many sites out there, and you just have to go and look for stuff. Sometimes, you can listen to 50,000 songs and only end up finding 2 or 3 good ones. A lot of research goes into it. People think that everyone can just become a DJ, so they play whatever the DJs on the radio play, but then they never develop their own style. Then they just sound like everybody else. Then you can’t spin at a place like Flute Gramercy, you know? A lot of DJs need to do better music research rather than just listening to other DJs.

So what’s the girl situation like? Often times, people think “DJ = pantydropper.” What’s that been like for you?
Well . . . I can’t speak too much to the issue of pantydropping. I have a girlfriend. [laughs]

OK everyone, for the record: He has a girlfriend!
[laughs] Alcohol and women means things get crazy, but I’m really professional about my job. I take it seriously. I give people my business card, invite them to my other parties.

Even if they’re hitting on you?
Yeah, even if they’re hitting on me.

That’s a good idea, and a very smart way to re-route the focus. Has it affected your personal relationships at all, i.e. with your family or your girlfriend?
Hmmm . . . well, a little bit. Now, I hang out with more girls than my guy friends. I mean, what’s the point of hanging out with a bunch of guys when you hang out with a bunch of girls? [laughs] But yeah, they are just friends, so it’s nothing like that. With the lady situation, I look at it like this: as long as you’re not taking advantage of the situation, you’re good. Like I said, people come out, they get drunk, and don’t know how to act, but I’m really professional. You can’t neglect that. At the end of the day, it’s about the music. Some people just DJ for the fame or for the girls, blah blah blah. But it’s about the music.

Is it hard for your sometimes to just go out, have fun, and relax?
When I am out listening to other DJs, I like listening to stuff that I don’t have. That’s why I go to a lot of parties where the DJs play house music and tracks I’ve never heard. Some of those DJs are so exclusive.

What about your music taste at home vs. what you play out—are they very similar or totally different?
When I’m at home, it’s totally different. It’s just weird. Half the time, I don’t even know the name of what I am listening to. I’m like that with what I DJ too, though, in the sense that if I like it, I put it on my playlist and play it in my set. But the stuff I listen to at home is fast tempo, but still chill, like lounge-y house music.

(more…)

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What’s Good? Mark LaRush (Part Two)

14 Jul

continued from part one . . .

Where is your family from?
Guyana. It’s actually South America, but they still call it the “West Indies.”

Yeah. Culturally speaking, they are more connected, so that makes sense. What kind of music did you grow up listening to in your household?
Reggae, calypso, old school, disco . . . thanks to my parents. My father even had vinyl. He wasn’t a DJ, but he had vinyl.

Did you ever play any of that music out?
Oh absolutely! I was a reggae DJ before I started spinning anything [else]. I used to DJ my friends’ and family’s parties, and we’re all West Indian. So it was all about bringing out the speakers and spinning for a block party. It changed, though, when I started having more of an interest in music.

Does anyone beyond you in your family DJ or work in the music industry or are you the only one?
Not professionally. I’m pretty much the only one.

Do you remember your first professional gig, and can you tell us a little bit about it?
Oh man. That’s like a million gigs ago. [laughs] I started when I was 14, and my first professional gig was probably when I was about 18. I was spinning at Culture Club. That was probably my first real gig. I was still an amateur to the club [scene], so I was pretty nervous back then because I was used to pretty much just spinning for my friends and I know what they like. That was challenging, but eventually I just thought about it and realized that this was the direction I wanted to go. What’s the point of being a DJ if you know what the people like? It’s better when you walk into a packed room, with people from 20 different nationalities, and you don’t know anyone there . . . then you just kill it. I think that’s what makes you good.

Do you have any bad experiences from DJing?
Yeah, a lot of things happen, you know? People get drunk and throw alcohol (which has sometimes gotten on the turntables). Mainly stuff like that, but that’s pretty much it.

What about really wild experiences in a good way?
I think ALL the parties are crazy! There are a whole lot of wild nights in China 1. That’s probably the craziest of the parties I DJ. It’s good crazy—they like to have a good time. Flute has a bit more of an upscale crowd and it’s more chill. I like it because it creates a nice balance for me.

How’s crowd interaction been for you?
My thing is body language. When I see people moving, it puts in a direction where I should go with the style and genre of the music. If I start playing some Madonna, and I see that the ladies like it, I go in that direction. If I play some Jay-Z and I see that the crowd loves it, the set goes hip hop. So my thing is body language. I don’t knock DJs who stick to their set. If you have enough sets, it’s not a problem. You can spin for any crowd. It’s just that most DJs don’t have enough sets.

You have to every genre down pat. If you see my playlist, you’ll see I have hundreds of sets. Everyone can’t freestyle for 6 hours, so you need to be organized.

Do you ever take requests?
Yeah, I do—if it’s good!

What makes a good request vs. a bad request?
Let’s say I’m playing from Jay-Z. The crowd’s feeling it and everybody’s having a good time, and some girl comes up and requests some crybaby Mary J. song. How am I gonna mix this hype song with a crybaby song? I mean, maybe I play it towards the end of the night, when everyone’s tired and ready to go home. But a lot of people ask for requests, and some of the requests are horrible. They would make me look bad. I took requests before and literally saw the crowd leave. So I don’t really take requests. I think DJs should know whether to take requests or not.

Sometimes, people make requests, and I was just about to play the song. That’s a good request. It has to make sense. If I’m playing Lady Gaga and everyone’s loving it, don’t ask for some old school R&B song. It’s not gonna go.

check back later for part three, the photoshoot, and the mix!

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What’s Good? Mark LaRush (part one)

13 Jul

photo credit: Ashley Anderson

When I first met him, he was fashionably late. We would be meeting in a barbershop in Queens, and I wasn’t quite sure what to expect. With a residency at China 1 and Le Souk, I knew that he had skills, but I had no idea what was in store for personality. Fortunately for me, Mark LaRush was able to put talent and an interesting background into one very handsome and poised package.

Mark was nice enough to take time from his insanely busy schedule to meet with me a few months back to talk about his upcoming projects, his early introduction to music, and his secret love for electronica. Always willing to open the minds of his audience, DJ Mark LaRush makes commercial DJs look good. In an era with more mainstream DJs spiraling downward into track-jumping after the first few bars of played out pop songs and rehashed hip hop, Mark challenges the average clubgoer by easing them into deeper music and making them love it before they leave the premises.

So without much further ado, take a moment to step into the mind of a very focused man with a musical vision that can appeal to just about everyone and find out What’s Good? with one of New York’s finest, DJ and producer Mark LaRush:

It seems, at least via facebook, that it’s always “Mark LaRush here, Mark LaRush there.” It makes me wonder whether or not you have a clone! Can you tell the readers a bit about all of your residencies?
I’m a resident Monday night at Le Souk Harem. It’s at a different place now, but it’s the same party, same promoter, just a different location. I’m also at Flute Gramercy on Thursdays. It’s a really nice, upscale, lounge. Fridays and Saturdays, I’m at China 1. That’s by far one of the hottest spots. I love that residency! It gave me more opportunities. They gave me the green light to DJ how I wanted and really let me show my skills. From that, a lot of other people wanted to work with me.

All of the residencies are really different. When I play a venue, I don’t always do the same thing. As a DJ, I wonder how people can use things like Serato and mp3s and just spin one genre. They gave you that so you could be better! So I spin everything. Every venue is different.

Considering you have so many residencies, how do you keep things from being repetitive?
Well, a lot of times, you repeat. But eventually, YOU get tired of repeating, so you just start working on new things. You don’t want everyone to be tired of you. I get tired of myself first! [laughs] That’s when my sets change up. This is how I look at it: if you listen to me spin every week, you probably won’t hear a difference because you come every week. But if you come a month or two months apart, you’ll hear the change. That’s pretty much how it works.

Would you say that each crowd likes a different type of music?
Le Souk typically wants me to spin house music. I have no problem with that; it’s cool. China 1 is more hip hop, but I still spin house, R&B. . . I mash it up real good, you know? The reason I spin a lot of house and mashup stuff is because I like spinning for open-minded people. For example, if you have a crowd that just likes hip hop and that’s it, it can turn into a crowd you don’t want. You want a crowd that’s nice, that’s buying drinks, that’s have a good time. So by spinning old school disco and mashing everything up, it shows what kind of people you have in there. If you just spin hip hop and they don’t want to hear old school disco, that’s the crowd you don’t really want. Music says a lot; you’d be surprised.

By me spinning that way, it creates a positive energy.

When you refer to “old school disco,” or “old school,” period, who comes to mind for you?
Prince! Um, what?!? [laughs] I’m a Prince fanatic. Michael Jackson . . . Madonna . . . there are so many.

What about the house and/or electronica you spin at places like Le Souk? Who are some artists that frequently show up in your sets?
Right now, David Guetta. I spin mainly mainstream stuff, but I’m into more underground acts as well. I went to Kiss & Fly the other day, and the house music there was amazing. The music there was sick, and I’m trying to go more in that direction with my music. I’ve been listening to A LOT of house recently!

Beyond visiting other venues, what are some things you do to research new music and what is the creative process like for you when you’re putting together a set?
I find one song that I really like, and I create my sets around it, making a build up to that particular song. Recently, as funny as this might sound, I used “Party in the USA” [by Miley Cyrus]. It was actually a hip hop set—a really fun hip hop set. I had a Biggie remix to complement the song. It had the same beat, so it went perfectly. I got the fellas hyped and I got the ladies hyped all at the same time.

Nice. You mentioned Serato, but do you use other equipment and/or programs as well?
Serato is the main thing I use in the clubs, but when I’m practicing, sometimes I don’t even use Serato, I just use my records. I still have records in the house. I’m actually a real DJ! [laughs] I still have vinyl, so sometimes, when I feel like it, I’m just at home playing my records—without Serato!

That’s what makes you good, if you ask me. You could watch the screen all you want, but…That’s the thing with a lot of new DJs that are coming up. They don’t know anything about NOT watching the screen. When their laptop crashes, that’s all they have. I could just go home and get my records! [laughs] I still have my Technics 1210s. With CDs . . . I like those too, but the turntables are more comfortable for me—I can’t do the CDs. I like to feel the record, you know?

I am just getting into Ableton because I am make my own music now. I also use Reason, which I use to make mashups. I’m working on projects with other artists right now, so I have to get into Ableton Live. That’s a must. It’s fun, though. It’s like a videogame, if you ask me!

What got you into DJing? Was it a specific song or genre that really inspired you or something deeper?
I really think it was my background. My family likes to party and dance. I always like to watch people dance. My being West Indian, I like to dance! I have rhythm, and I like listening to music—all types of music! That’s pretty much how it started and how I became a DJ . . .

Check back here for part two soon!

- Retail DJ

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What’s Good? Shomi Noise (Part Three)

19 Jun

. . . continued from What’s Good? Shomi Noise (Part Two)

How did it go?

I did it! I just started playing music. I had learned to crossfade properly. I took a crash course on DJing. I did not know as much. I don’t know how I pulled it off! Everybody was dancing. People were really into it. My friends were coming to the DJ booth and jumping up and down! [laughs] That’s when I realized, “Oh, I can do this!” I just knew that I had to keep working and researching technique. After that, people started to ask me to DJ more, so that was good too.

When was the first That’s My Jam party that you played?

I think it was October or November of 2008.

What kind of music did you play when you first started out? You mentioned that at Anonymous, you were playing more Riot Grrrl and punk, so when did you switch to more electronica and hip hop?

It happened progressively. When I first started, I did have some electro stuff thrown in. I would play the Count and Sinden and some remixes, for example. I was also playing a lot of mainstream stuff because I know that’s what a lot of people like to listen to sometimes. At that time, I still wasn’t quite sure what my style was, but then later I got into a wider variety of stuff, and I got really into crunk.

When you think “crunk,” who are some of the artists that come to mind?

Yo Gotti, the G Spot Boys (who did “Stanky Leg”) . . .

Lots of Southern stuff!

Yeah! That’s where it all originated. I also love Rashida, Crime Mob, Lil’ Jon . . .

What’s the general crowd response when you throw in that type of music?

People love it! I DJed for a beauty salon’s holiday party in the Lower East Side to a mainly straight crowd. I thought I’d just play it safe and play lots of pop-y stuff, but then someone came up to me and asked, “Do you have any crunk?” [laughs] I said, “Yeah! As a matter of fact, I love crunk!” So I started playing crunk, and everybody loved it! Sometimes, I even drop crunk tracks at the museum. I get . . . mixed responses, but mainly positive!

Everybody loves pop, so it’s good to throw it in there, but now that I am into more electro stuff, I’m trying to explore that more. It’s easier to beatmatch and mix with electronic music. Also, another thing I do now with pop music, particularly if it’s a track that’s overplayed, is find a really good remix. Eventually, I want to do my own remixes.

So what’s a remix that’s out now that you’ve been using quite a bit?

Crookers did a really good remix of Lady Gaga and Beyonce’s “Telephone.” There’s a part that’s too long that just drags on, but I edited that on Ableton. I know I can just drop this track and people will go crazy because it’s Lady Gaga, but with a twist! It has a harder beat.

I just love finding really good remixes of predictable pop songs. I think that’s what DJing is all about—putting a new spin on music and making it your own . . .

(more…)

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What’s Good? Shomi Noise (Part Two)

18 Jun

. . . continued from What’s Good? Shomi Noise (Part One)

Do any other DJs that come to mind?

Other DJs in the scene I’m in that I’ve worked with and/or really respect include Sirlinda, who is really good! Also, I went to a That’s My Jam party recently where I saw a DJ named Noa D play, who’s amazing. I was really impressed. Also, there’s DJ Ender Wiggin, who is another queer DJ I’ve worked with who’s pretty cool! Another DJ I really like is Helen Harris of OMG Michelle.

Have you ever DJed any mixed-crowd parties or anything outside of the queer community? If so, have you noticed a difference in the response?

Yeah. I’ve DJed at the Rubin Museum, which is an interesting place to DJ because it’s mostly lounge DJing, which is completely different. But it’s good to step outside my box and see how things work out there in the “real world.” [laughs] For a long time, I just said I was only going to do queer parties. It was just kind of a comfort / safety thing for me because, you know, people probably won’t be as condescending, etc. But then I started DJing at the museum, which was interesting because I would get weird responses sometimes, but most of the time, I received really positive feedback.

What do you mean by “weird” responses?

Sometimes, I would get guys who would come up to me and say things like, “Why are you playing this crap? Play something good.” I’d ask, “Like what?” and he’d respond with something like, “Gorillaz.” [laughs] Ooooook… I’ve also had guys come up to me at the Rubin and be like,

“Are you really serious about DJing?”
“Yeah.”
“Well, you know what would make you a better DJ?”
“What?”
“If you took your shirt off.”

I would get really sexist comments sometimes.

Seriously? At the MUSEUM?!?!

Yeah! I mean, there are random crowds of people there, so . . . I’ve experienced sexism from the audience more than from other DJs. But, at the same time, sometimes I’d play something and the most random people would come up to me and give me a compliment. I got a lot of really positive reinforcement while DJing at the museum as well.

That helped me, and it made me think that maybe I should DJ other places, not just the queer party scene. It’s something I want to start doing more of.

So let’s backtrack. How did “Shomi Noise” come about, and how did you become a DJ in the first place?

(more…)

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