Noise: It’s something we try to avoid. It’s something that hurts our ears. It disturbs the peace.
But if there’s any peace that Shomara Terceros, aka DJ Shomi Noise, is trying to disturb, it’s the still silence that’s plagued dancefloors as of late. With a moniker built on both her name and the common call from DJs worldwide, Shomi Noise takes good care of her audience and listeners. With non-stop dance party rhythms and a message to boot, Shomi Noise brings more to the club than just her headphones and salaciously crunk sounds. Known to research for hours on end late at night, insomnia being her best friend, Shomi takes on a challenge that many DJs neglect: building musical knowledge from the ground up, and bringing the audience along for the ride.
I had the pleasure of sitting down with Shomi Noise back in the spring as she was putting together sets for her return to DJing after a few months of hiatus. Now that she’s back in the game full time, she’s truly a force to be reckoned with, but remains humble and full of good stories for those who are just starting out. She shared that at the end of it all, DJing takes a lot of learning, experimentation, and overall trial and error, but those are the things that make us better at any and everything we do.
So take a moment and come with me to find out What’s Good? with DJ Shomi Noise:
You’ve mentioned before that you want to move into more feminist stuff, or at least work in more feminist music in the music you DJ. What are some of the things you had in mind to include and why do this in the first place? Why insert feminism into this type of music?
I think that, especially in the “electro” world, it’s male-dominated. There are some really awesome female DJs out there, but we’re still in the minority. I think that it’s not as accessible for women to pick up DJing. Even when I started, I would go to stores and try to talk to people about mixers and that sort of stuff, and they’d be really condescending. I’d think, “Why is he being like this?” But I think it’s just music in general. It’s really challenging to be female and do it and be taken seriously. I think feminism has helped a lot. With rock and roll, for example, I think that what helped young girls be inspired, pick up instruments, and play music was Riot Grrrl (which is what inspired me).
I got really into Riot Grrrl. Now that I am getting more into this electronic music scene and DJing, I think it’s also necessary to keep an empowering feminist message out there. It’s not just for women and girls. I think that a lot of men could use those messages too.
I recall you mentioning once that you were considering using some Kathleen Hanna stuff, correct?
Yeaaaah! There’s really good stuff that Le Tigre came up with, as well as good remixes of their work. But there’s also pre-Le Tigre work that Kathleen Hanna did, one of them being Julie Ruin, which is a project she was involved in before she went completely electro with Le Tigre. It was just her, in her room, recording with an 8-track, making really simple beats. It sounds really good! And it just makes me think it would sound great remixed. That is what compelled me to want to really get into remixing.
A lot of Riot Grrrl stuff is super difficult to DJ or sneak into a set because with rock music, it’s really hard to “pick up” the beat. It can be very distorted. But I think that you can sample stuff, so I am trying to get more into sampling and remixing in hopes of incorporating all those things. I’m also starting a band, so I want to start writing feminist, socially-conscious lyrics . . .
What is the process of putting together a set like for you?
I must have played like 20-25 parties to this day. It’s not much; I’m not an experienced DJ. I usually improvise. But now with Ableton Live and more complex mixing stuff, I can play around with a variety of clips and mess with their order during live sets.
What is the party scene like in Rio, especially in terms of electronic music?
I don’t really know the electronic scene that much as it usually involves more expensive clubs.
I’ve gotta explain to you how it works: the scene I’m half ‘in’ is actually the “indie” scene, which I could call the “second mainstream,” like the mainstream to people with a little bit more sense to arts and stuff. This scene is based on rock parties. I mean, rock and electro-indie stuff I don’t know for sure, but we all know that hip hop is simply the best club music ever made [laughs] so the rock DJs spin some hip hop too, like beastie boys and Beyonce, etc.
These clubs charge like 12-20 reais (about $6-12 USD) for entry, whereas the electronic music clubs charge 20-60 reais (about $10-40 USD). The drinks are really expensive in these clubs too.
There are intersections, but the “indie” scene is more for kids from 16 to 24 years old, and the electronic scene has an older crowd, from 20-30 or 40 years old. And the concept of being alternative at this stage is already more diluted (though, I admit I don’t understand this scene AS well since I’m not in it and tend not to party with older crowds). However, I still hope to make some serious money in this environment some day because depending solely on indie parties in Rio, I wouldn’t be able to sustain myself or a family.
Considering the electronic music clubs are not as much your scene, what are some of your favorite venues to go out in Brazil? What about your favorite venues to play?
I’ve not played in many clubs, mostly the houses of Grupo Matriz, which is kind of a monopoly here. They have about 6 “alternative” clubs ranging from the indie alternative to a kind of more “Brazilian looking’” alternative lifestyle, that is more connected to Brazilian culture.
To be honest I don’t like clubs. I like parties, but most clubs are strange to me. For instance, I think its ridiculous that some clubs have no area where you can talk (i.e. just with light music in the background). I also hate smoke. Although that’s better now with the new law. [Editor’s note: unlike in NYC, it’s still legal in many Brazilian cities to smoke in bars and clubs, though some cities like Rio and Sao Paulo have recently passed laws to ban it, though little has been done to enforce the ban.] Casa da Matriz is great in this aspect, but the sound system, as in all Grupo Matriz houses, is bad, sometimes incredibly bad.
I’ll play in São Paulo for the first time the 4th June, in a nice club called Vegas; I’m looking forward to it. I’ve been to a club in São Paulo called Milo Garage, and that’s definitely my favorite club in Brazil. The drinks are cheap, the vibe is great, there’s a place facing the sky, and the sound system has nice, nice bass.
In Rio, the electronic clubs have nicer sound systems, but are really expensive. But anyway, fuck that, there are people giving out their 100-200 reais a night in these clubs (which is crazy if you think of how much most people make in a month in Brazil), but I still want in! [Laughs] . . .
A few months back, Rio-based DJ Leonardo Justi got in contact with me via gmail. He had noticed that I supported the work of Brazilian DJs, particularly in relation to my post on DJ Wooles, whose Aporavamento Sound System Mix I put up in April.
The rest was history.
Leo and I kept in touch as he grew more and more in Brazil, his talents having been highlighted by O Globo, his being invited to play at Bootie Rio at Fosfobox alongside DJ Gorky (of Bonde do Role) and DJ Faroff, and even Vegas Club, one of my favorite dance spots in Sao Paulo, and one of the most well-known clubs in Brazil. I featured several of his remixes and full mixes here to rave reviews, and word spread quickly in NYC that there was a new funk carioca DJ to look out for on the map.
What’s interesting about Leo is that his initial path was not at all one would relate to a funk carioca DJ and producer. His roots are in more traditional music and he later even dabbled in rock, yet somehow fate ended up leading him to the genre where he fit best. Though humble beyond words, his skills speak highly enough for him on his own. With a unique music taste and a good ear for what songs work well with each other (even though they often lie on antipodal ends of the genre spectrum), Leo continues to create music that’s perfect for parties. Fortunately for us, he puts his open self-exploration, musical progression, and professional growth into words, articulating both the triumphs and insecurities that come with the territory of being part of the music industry, and provides a few laughs as well.
So without further ado, take a moment to find out What’s Good? with one of the hottest DJs in Brazil, Leo Justi:
Considering your exposure to classical music and later the guitar, what compelled you to become a DJ?
I had a pretty bad adolescence, which got better when I lived for one year in Germany and started to drink. Through alcohol, I found out parties could be really fun and that I could dance, and stop giving a fuck about anything . . . All those wonders of alcohol.
What I mean when I say “bad adolescence” is in the sense of having peace of mind, which I still don’t have that much. It was a time I was doing music 100% to express myself, which nowadays is a bit muddled, since I’m 23 and have to make money. So, I started DJing because I started to love parties (after a while, only drinking wasn’t enough to have fun; I wanted nice music playing) and because I really quickly saw that in years of having bands, I had only spent money, but in months DJing, I started to make money.
My background with classical music was really a blessing, since I really believe that hearing Mozart might have given me my really good ear for music. Actually it’s funny because my best ability in music is harmony, and now I’m doing club music most of the time with no harmonies, just percussive sounds, and like one single kick giving a note.
What were some of your musical influences as a child?
As a kid, I really only listened to classical music and some bossa nova. When I was 7 or 8, I started to like some baile funk songs everyone was singing, but that was repressed by some folks, so I ended up “denying” this taste.
At 10, I started liking some Brazilian pop like Skank, a reggae-pop band (that is kinda shitty nowadays). I hated rock back then. Later on, I started listening to punk rock and when I was 16, the Deftones really opened my mind. From then on, I’ve been listening to everything.
Little Leo
What inspires you now as an adult?
Mainly when I see people really enjoying music and “losing their pose” doing it. Usually it’s alcohol and girls that actually make this happen, not music, but still there are different grades of happiness on the dance floor and there is definitely music that makes that difference. By the way, in my experience girls are usually more into music really, even when their taste is MTV-oriented and they don’t like what I play as much. João Marcelo Boscoli I think said “make music for girls and gays, because (straight) men only go after girls, not music.” And in considering the mainstream, that’s true . . .
Why “Drlkt Freddie”? Does it have something to do with Zoolander? What’s the deal? Van: I love Zoolander! But . . .
Jad and Van: Nothing to do with Zoolander. [laughs]
Van: No closed deals going on up in here!
Jad: Nope! [all laugh]
Van: I’ll take on “Freddie.” We were trying to come up with a name, and “Freddie” comes from Freddie Mercury. We are inspired by these classic, glam rock, arena acts musically, conceptually, fashion wise. . . They were beautiful beautiful bands that had beautiful voices and made beautiful music!
Jad: They were so eclectic across the spectrum. I mean, who else, other than Queen, has such a range of performances and songs? They go from rock and roll, blues, and heavy metal to arena rock. Then the performances themselves just rocked arenas around the world. Freddie Mercury was a true showman.
Van: That’s who we aspire to be.
Jad: Also, when Van was a little kid, his family used to call him Freddie.
Van: I don’t know where that came from, though! We couldn’t just stop with Freddie though, because that’s a very polished name. In addition, even though they were kind of underground in terms of style, everyone knows Queen. We needed something to address our underground roots and our upbringing in the clubs where the straights, and the gays, and the trannies were all hanging out and having a great time, all connected with the music and whatever was moving them.
The word “derelict” has a negative connotation, but we flipped the script and made dereliction positive. It’s an underground connection to music that is not widely accepted by the general public, especially in the United States—even in New York City. Europe “gets it” a little more, [and this type of sound is popular in Berlin, Barcelona, London, and other cities.
Jad: It’s also a form of expression. For example, when you go out, what do you want to be? Do you want to be a square, or do you want to be derelict and just let it all out? That’s what dereliction is.
Van: Letting loose and just being yourself. (more…)
That’s something special, and what I’ve always wanted: to make people dance and feel the music no matter where they are or what they are.
That’s really the basic reason why I got into music and why I started DJing. I wanted to give the same feeling I get from a certain piece of music to other people. It’s about sharing. Now we’re getting hit up by various people from all around the world.
“Opposites attract.” It’s a popular saying that, while related to magnetism, translates directly into the world of human interaction. As cliché as it sounds, particularly when applied to relationships, it’s the best way to describe DJ/producer duo Drlkt Freddie. Made up of two industry veterans in their own right, Van Scottand Jad Cooper, Drlkt Freddie has the goods to move a crowd with their remixes and original tracks, but also possesses the ability to remind listeners that skill and talent are alive and well in a scene dominated by many lacking in both. Having re-worked tracks by Sia, Princess Superstar, and Larry Tee among many others, Drlkt Freddie is on a surefire track to becoming a household name, at least within communities who consider deep bass an alternative to a heartbeat.
In early March, Jad and Van chilled with us at Broadway East, better known asBEast, a bar, lounge, and yummy brunch spot in the Lower East Side. Accompanied by bumping beats in the background by resident BEast Disco Brunch DJRichard Burroughs, we had the opportunity to find out What’s Good? with Drlkt Freddie. . .
You have been DJing for Gallery Bar on a few weekends and I know you’ve been working with NSR as a part of Celebrity DJs. Who is the third part of this crew?
[Daniel] Lynas! It’s us three.
Cool. For Celebrity DJs and working with your friends on that project, how does your stage persona differ there vs. when you are on stage performing as Dash Speaks solo?
Well, the coolest thing for me about being a DJ is that you can feel like you are a part of music that you yourself are not capable of making or simply that you don’t make. The best thing about it is playing a song that just takes over a club. It changes everybody’s mood and makes everyone just . . . ecstatic! At that moment, you really feel like you’re a part of music and a part of going out in a way that you couldn’t be as a performer.
All of us try to gear our music towards whatever crowd we have, and we try to make it the best, most appropriate party it should be for the night. If it ends up being a bunch of my friends from high school, or NSR’s friends from high school, we’ll just throwback rap songs and stuff like that. That’s another thing that I can’t be a part of in my performance, but being able to play MOP’s “Ante Up” or Biggie or Dip Set—we play a lot of Dip Set (I love Dip Set; Cam’ron’s one of my favorite rappers) makes the biggest difference.
It’s largely related, though. When NSR or I perform, we will often DJ for each other and switch it out sometimes. We’ve had performances where we’ll go back and forth. Lynas has DJed for me millions of times. I’ve DJed at some of his shows before. So it’s all very related. Usually when I rap these days, I will be DJing for part of the night as well, which, for big shows, is not preferable. I try not to do it. But when we’re having parties or when our concerts are geared more to making people dance, DJing becomes a bigger part of it.
What is something that you’re listening to now that you love and would wish to include in a set but that you haven’t had the chance to drop yet?
There’s a ton. I mean, there’s so much music! The worst thing about DJing for me is that when I started DJing, I did it because I was sick of the music that was playing when I went out. I was like, “I am never going to play this shit!” even though some of it’s great—it’s just a matter of how much you hear a Top 40 song. You start DJing and you realize that this is really what most people want to hear, and that’s what you have to play.
I think it’s important, as a DJ, to try to find a balance between music that you’re putting on that people haven’t heard and music that people have heard or music that people don’t hear SO often. The balance is important because when you just play Top 40 shit, the skeptics in the room will not be interested in you as a DJ. On the other hand, if you’re not playing any Top 40, you’re just not doing a good job. Most people aren’t dancing. Most people like music they know –which is good and bad.
Have you been in New York your whole life? I know you mentioned moving around and living in different places, but are your roots here? Yeah, I was born in Manhattan and have lived in Brooklyn, Long Island, Queens, then back to Manhattan. I went to the University of Arizona for three months, but dropped out because I wanted to be a rapper. I came back here and lived in Brooklyn, then Manhattan again. I’ve lived here now for 6 years now since I’ve been back—the only exception being when I studied abroad in Switzerland and traveling to a few other countries.
What has been the general response to your work here, especially when you perform in public?
It depends. What I’ve had to work on throughout my career is making my music translatable to live performance. A lot of my work is really lyric-driven, which I pride myself on. That’s the thing that’s most important to me. But that’s sometimes hard to translate on stage. It took a while for me to learn how to do that. Certainly the first times I performed at the Nuyorican, I wasn’t a good performer. I had good things to say, but I didn’t know how to say them.
I’ve never felt scared on stage. I’ve always felt comfortable there. I have just always had a hard time throughout my life “selling myself” and opening up in a lot of ways. At my best, I’m able to let go, be incredibly comfortable, and put on a great show. People respond to that. I haven’t been at “my worst” in a long time because I’ve been doing this for a while. I practice and I take it very seriously. But there were points in my career when I had shows and it just didn’t work well.
Even now . . . I had a show recently in Albany. I DJ for the Tug of War Tour, which is a Jewish and Muslim spoken word and hip hop show. It’s made up of two MCs –one is an Iranian Muslim, the other is an Israeli Jew—and two spoken word poets—one Palestinian Muslim and the other a Syrian Jew. The spoken word poets are women and the rappers are men. So yeah, I DJ for them and sometimes open up for them, which is great luck! I love their show. They are all very talented.
But my performance music, particularly the stuff that I usually do is the upbeat, dirtier stuff, for example, the song “At Night,” which is one of my bigger songs that I do live. I did that at SUNY Albany. The show was sponsored by the Hillel (the Jewish Students Association) and the Muslim Students Association. It was difficult to get through. That’s a hard show to do when you’re rapping about getting high to people that really don’t do it! [laughs] It was a difficult show, but I just kinda smiled about it beforehand and was like, “Fuck it.” I think I went through the motions well! [laughs] But DJing for them is not difficult. We practice a lot; I know my cues! [laughs]
But the performance response is generally good. My best shows are great, and the shows I am not happy with are pretty good too. At this point, I’ve learned how to speak clearly and be energetic, and my stage voice is good. You know, you can always get better, and it’s something that I try to do.
Likeable and mellow, two adjectives rarely used to describe entertainers and, even less so, rappers. Yet somehow in a climate heavily-laden with bravado, Dash Speaks stays true to form, minding his Ps and Qs the whole way. With a penchant for boat shoes and politics, Dash makes quite the lyricist, but despite his poet background, his biggest love is music. Having worked with producers from here to Germany, Dash brings quite a bit to the table in terms of both experience and exposure. He recently wrote, produced, and performed on his new album Geography, and was nice enough to sit down with us to share some of what makes up the map in his mind and the source of his talent. So get comfortable and take a moment to find out What’s Good? with Dash Speaks:
So I see you are not wearing your Boat Shoes/Topsiders today! The song in their honor, however, was the first of yours that I heard. Can you discuss that track a bit and how it came about?
Sure. Noah (NSR) has been wearing Topsiders for something like 2 years. I bought my first pair last year. We just both think they’re the essential summer shoe. We were at Ella together once, and I walked downstairs and saw Noah was wearing Topsiders and I was wearing Topsiders. It was the summer and that’s, more or less, all we wear then.
I was like, “Yo! I couldn’t be flyer in my Topsiders” and at that moment, we realized we should make a song about this. I had just been producing for a couple months at that point, and I decided I would try to make a beat. I did, and it was pretty cool. I was planning on doing a 12-bar verse, and Noah did a 24-bar verse, so I ended up writing a 24-bar verse as well. We wrote the chorus together. We had a lot of fun making it! We took a lot of time and performed it a couple of times –sometimes really sloppily. By the time we released it, we had practiced and actually had some choreography.
We both like the song a lot. “Topsiderz” and “Bachelours at Disco Beach” were the two songs I released this past summer. Neither of them was the normal type of song I do. Usually, my music’s a little more serious than that. But they were both really fun songs, and I felt that I executed them well. I have to be honest that I was a little surprised that they didn’t catch on more than they did; BUT “Topsiderz 2.0” is coming out soon. It’s right around the corner!
Is it a remix? I think I am going to make a new beat for it. That’s what I am thinking. I have a producer in Germany that I have worked with in the past. He said he was interested in doing a remix, so I might ask him to work with me again. His name is Jan Wilms. At the time I worked with him, he was working with Punx Records, which is a dance music record label out of Dortmund, Germany. He’s a great producer. So I might ask him to do it, I might do it, or I might even ask another producer to work on it. But I think at this point, I’ve gotten a lot better in terms of production, so I’d like to take another stab at it.
Cool. I think one of the reasons it caught my attention is because here we have a hip hop, rap, sometimes dancehall influenced artist talking about these shoes that I associate with really preppy Southern boys. So in your making a track about them, is that sort of a “wink,” if you will, to the hip hop industry? Sort of. The shoe is cool because it symbolizes a perfection union of form and content. You can wear them anywhere. I wore them at Bonnaroo last year. It was really muddy, then at times really dry and hot. They were just perfect for all types of weather. Sperry and Sebago, which is the company that makes Docksides (which I like as well), both have the intention of creating a waterproof shoe that you can wear with a blazer or you can just wear with shorts. So we (NSR and I) both liked that.
The other thing about it is that it’s just a classic look. I think that in the last couple of years, I’ve gradually become less loud of a dresser and more subtle. The thing about Topsiders is that they’re timeless. It’s always been a really good shoe. It’s never tried to be anything more than it is. I should really work for Sperry! [laughs]
Hopefully they’ll give you a little kickback from this, you know, send you a new pair of shoes! Maybe! [laughs] But going back to what you asked about the song being a “wink” to hip hop, there are certainly parts of the song like, “Let’s take ‘em to the country club” that obviously do not embody the quintessential style of hip hop.
What is your inspiration when you are working on a piece? Do you ever think of a movie or a song, etc that inspires you to make a necklace look a certain way?
Well, the creative process normally starts with me in a store, looking at different stones, pulling things, mixing and matching them, twisting stuff together. My mom came with me once and was like, “You don’t like to talk to anyone. You go to the stones and you have your moment.” So at the time I am actually pulling different pieces, I’m just sort of visualizing stuff. Then when I get back to my apartment, I’ll either put on the Rachel Zoe Project or I’ll start listening to music.
I always have colors in my mind. I’m constantly thinking of ideas for stuff and making little sketches on post-it notes, etc. But when I am creating pieces, I’ll normally have a good sense of what I want the end product to be, but I do often play around. For example, I will throw stones on my desk and mix and match, especially with the colorful pieces.But I tend to be so focused that I am just blocking out everything around me, except when I am stringing stuff, and in that case, I need to have music on or watch something.
You mentioned that you like to have the Rachel Zoe Project on as background noise sometimes. Why this show in particular?
I first started becoming a fan of Rachel about 2 years ago. I thought her aesthetic was just so fantastic—the way she combines accessories and clothing and the colors she uses. She’s also quite a character. I started watching the Rachel Zoe Project when it first came out and just found it really entertaining. I love that she has all these couture gowns all over the place and that her studio has hundreds of shoes, lots of jewelry all over. It was just so inspiring because she has all this stuff to play with. I love watching it when I am putting together pieces because it’s both entertaining and very visually stimulating. You’ve got these incredible pieces and then when the show goes to fashion shows, you see just true art walking down the runway.
a quotation from Katie's "inspiration wall"
I know you do necklaces and bracelets, but looking at the cool blue ring on your finger, it makes me wonder . . . are rings in the works?
Rings are difficult because you need to have the customer’s exact size. Rings are also just really hard to make, period. I can’t do metalworking yet, although I’m hoping to take classes this summer. It also requires lots of materials, and I don’t think I could solder in my apartment [laughs]. Although it would be funny if one of my neighbors came in and I had on one of those masks and a torch! [laughs] Though I have been told you can actually use the crème brulee torches from William Sonoma (which I have always secretly wanted even though I can’t cook!) [laughs]
Katie's future as a metalwork expert?
But to get back to rings, it’s not that metals are that expensive, it’s just that gold right now is really expensive. Sterling silver is actually not that bad, but I would most like to have to have someone else manufacture it. Part of the fun for me is making the pieces and getting to say that it’s all handmade by me. So rings are something I am thinking of for the future, but not now. And again, the sizing is an issue, and as a person with a really random ring size, that it’s almost impossible for me to find things for myself, so I’ve been a little discouraged from going down that road. But I really would like to expand to do cufflinks and stud earrings (not just the ones that dangle).
So you do earrings as well?
I do. This past summer, I took a wire wrapping course because you really have to have that skill in order to make earrings. I didn’t wear earrings in the past because I tend to just wear pearl studs every day, but then I started realizing that there was a market for it and that it would be great to pair them with a piece to make a better gift set. I’ve sort of stepped away from making bracelets because I find that they’re not as durable because people are constantly on the computer or doing something with their hands. Everyday wear bracelets don’t hold up as well when you have semi-precious stones because they’ll crack or they’ll break. So that’s why I moved to earrings.
beads awaiting their turn
How would you characterize your target audience or your biggest buyer?
That’s actually something that I keep rethinking. Initially, I thought my age group, but I am beginning to realize that people in lots of different age groups wear my pieces. Whenever I go to a store that sells my pieces, I always ask if they remember which customers bought things (i.e. their age group). A lot of young mothers buy my pieces. My pieces are still youthful, but more sophisticated, especially the pearls. You can wear my pieces with a plain blouse by day or you can wear them out at night. A lot of my customers are in that age range. I do want to expand though, because I’d love to have a younger market, and I think that my colorful pieces especially would do so well there. I got a lot of great feedback at my trunk shows, though I have noticed a lot of people will buy things for their moms, especially the pearls.
So I have been trying to target more age groups. I considered actually doing stuff for kids, and using more plastic beads and fun colors while keeping the prices really low, but that’s really hard in terms of sizes. That’s something that might be in the cards for later. As I mentioned before, I also want to go into making men’s cufflinks. My boyfriend has been particularly encouraging, though I think it’s because he just wants me to make stuff for him! [laughs] But it is something I would really like to start doing with semi-previous stones. Most cufflinks are boring. They’re just silver or gold or something with your monogram, but a nice gemstone would make an outfit pop.
For our age group and/or those who have more of an edgy, darker style, is there a way that some of these pieces by way of other metals or beading could target that group?
Yeah, definitely. The thing is is that I just love colors so much and metals are not really conducive to being brightly colored. I could mix the two, especially with pearls or something to make it a little more monotone, but I love color so much that I don’t want to lose that aesthetic.
beads from a Valentine's-inspired piece
If someone asked me to custom-make a piece, I’d do whatever they wanted. I try to keep myself in the piece, but if a client wants certain colors, I am not going to say, “No, I won’t do that.”
So how can one get a custom design?
They just contact me. I had someone ask me to do the earrings for her bridesmaids this past summer, and we worked together for about two months on it. It was a lot of fun planning it and seeing the dresses then coming up with designs for her. She had no idea what she wanted and she was also finding that pieces were just so expensive in the stores. I was able to make them basically at-cost because it’s great publicity for me. I actually think it’s a lot of fun. I really like the creative process and sharing it with other people. I sent her samples of different stones and took photos of different color schemes for her then matching it with the flowers . . . it was a lot of fun!
I make a lot of pieces for my mom too, actually. I don’t charge her for them. She gave birth to me, so she’s allowed to have a couple of necklaces! [laughs] That’s also a lot of fun for me because she’ll say, “Oh, I am going to this event and I want to wear xyz, can you make a piece for me?” and of course, I’m like, “Absolutely! As long as you let everyone know that your daughter made it!” [laughs]
I’ve also had a couple of people tell me there we going to a specific occasion and their price range, and I put something together for them. This too was a lot of fun for me, and kind of a challenge.
Are you able to take home a little bit of a profit?
[laughs] I still haven’t broken even. I just figured out the numbers for last year, and I definitely made a lot more than I have in past years, but I also spent a lot more. That’s just how it goes at this stage. Every penny that I make, I just put back into my work and buy more stuff. I’m hoping not to have to buy more materials for a little while because I have put together a lot of different pieces. I am not sure of how many I have here, but I have at least 20 in stores right now and I am constantly switching them.
I also have a lot of extra materials that I’ve built up over time. I find that it’s easier to be creative when I have a lot of stuff. It’s like. . . Rachel Zoe has to have about ten gowns to pick out one!
It’s a lot of fun, and my mom especially just loves it so much (I make her pieces all the time)! She wears them around to her garden club meetings and things like that to show them off. She even carries my business cards around! [laughs] My dad has formed an appreciation for it. Not as much, obviously. When he came to my launch party, the first time he had really seen everything together on display on the busts and whatnot—when they’re on the table flat, the pieces don’t have the same character— he was really impressed with what I had been able to put together. He said, “You definitely didn’t get this talent from me!” [laughs] But my parents definitely encouraged me a lot, so that’s where the work ethic comes from.
And, you know, in creating jewelry, you have to be in an artistic mood and be passionate about it. It’s not something that allows you to constantly churn out pieces. I mean, if I have a design ready and I need to make 10 pieces, then I can churn it out, but it’s definitely different from college, i.e. when you had to get something done by a certain deadline. For me, my pieces come really whenever I am feeling creative, which does not always happen as frequently as I’d like! [laughs] But it’s definitely something I’ve enjoyed doing.
Besides the pearl pieces, are most of your pieces one-of-a-kind?
Pretty much! Sometimes, I’ll make multiples of a different piece. For example, I’ll have a certain design that I keep, like with the pearls, but I will use different gemstones. Also, if a client wants more than one of something, I’ll do it. Normally, I just like continuously making new pieces, which sometimes I find it gets a bit expensive because I have to keep buying new materials; but that’s just how I work creatively until I find a couple of designs to really do well and I can just say, “OK, I am doing these 10 pieces for the next year, then I’ll introduce new stuff.” I have a couple of designs that I’ve kept, but it always involves using different gemstones.
pieces from Katie's newest collection
Have you ever been told that one of your necklaces was “too funky” by your Connecticut clientele?
Sometimes people will tell me, “Oh, I could never pull that off” in reference to certain pieces or that they don’t have an occasion to wear something. But in my case, I wear my pieces anywhere and everywhere, and I’ll even wear sweatpants and pearls. I’ll just do it! [laughs]
I recall seeing that on your blog. You note that you “have also been known to wear [your] fancy pieces with yoga pants and a black sweater because [you] think [people] should always sparkle, even when dressed down.” Yes, seriously! [laughs] I’ll wear this necklace with jeans. I wear it to all different occasions. People always think that you have to have a really fancy occasion for it, but I don’t think so. Why would you buy jewelry that you can’t wear all the time? Granted, if it were a massive diamond necklace, then I will give you that! Or a tiara or something. . . like, ok, there is an occasion for that! [laughs] But I will wear it with anything. I wear yoga pants pretty much every single day, and I’ll just pick a different necklace and a different sweater. I just think there is no point in having jewelry if you can’t wear it wherever. Nor is there ever a point in wearing uncomfortable clothing! [laughs] So that’s why I just keep to the yoga pants and a cardigan.
Do you ever sell the pieces that you’ve made for yourself or do you grow too attached to them to do it?
I have a problem with keeping pieces for myself. [laughs] I have gotten better about that, though. I’ve actually had someone buy a necklace off my neck. It was a little bit difficult at first, and then finally I was like, “Ok, you know what? You’re offering me money for this necklace. Fine. You can take it!”
crystal quartz and cubic zirconia necklace available for purchase at http://www.etsy.com/shop/KatieBartels
When did this happen?
I was visiting my grandmother. She’s in a nursing facility, and she was getting her hair done. Every week, she has to get her hair done! So I had gone to sit with her and chat for the hour, and one of the people who was cutting her hair turned to me and said, “I really really like your necklace. It’s incredibly unique.” It was a necklace of pearls and peridot. So I said, “Thank you. I actually made it myself.” At the time, I happened to be showing my grandmother photos of some of the pieces I had made, so it actually worked out well because she could see other stuff. But even then, she said, “I really like the necklace you have on! My daughter just gave me money for babysitting my grandson. I never buy anything for myself, and all I do is take care of my husband and my grandchild and my daughter!” I just responded, “Well, it would look lovely with your hair color!”
Of course, I gave her a discount, but it was fun because I saw the piece going to someone who really liked it. In that case, I’m willing to part with it. But there are some pieces I will never part with. You could give me a million dollars for this and it will not happen.
". . . there are some pieces I will never part with. You could give me a million dollars for this and it will not happen."
Yeah. I know what you mean. It’s a really cool necklace. I like that you have so many colors and it’s as if you have several pieces in one.
I achieved that effect by working with two strands and twisting the designs. It’s a heavy piece though. Sometimes, I find that my posture has probably worsened since I started wearing jewelry. This necklace (pointing to the purple necklace pictured in the 2nd photo above) is really heavy too. But I definitely love big pieces of jewelry because I like to be minimal with everything else. Accessories are the only things I use to really “dress up” my outfits.
What about when you’re going out? Yeah, even then, I have been known to wear yoga pants out—with, say, a tunic so you don’t realize they’re yoga pants! [laughs] But normally, I will just focus on the necklace. That’s where I really start my outfit. For example, in the morning, I have pieces all over the place, and I’ll just kind of walk around and look at things . . . then choose based on what color scheme I am in the mood for. And I don’t necessarily pick based on seasons. If I want to wear brown and orange in the summer, I’ll do it. Why not? Or I’ll wear something really colorful in the winter, especially considering that everyone is dressed so drably. That’s when I want to wear pastels, and I’m going to! [laughs] I’ve actually gotten lots of compliments when I’m wearing stuff that’s really colorful. That’s my mission really—just to be a little more colorful!
Now turning our attention a bit to the construction process, I wanted to ask you on the basic level, without divulging too much, what is the process like that goes into making on your pieces?
No worries, I won’t give away any of my secrets! [laughs] Most of my necklaces are about 17 inches long because that’s the “typical” length. I do make them longer or shorter, however, depending on the piece. It’s hard sometimes because everyone likes a different length and everyone wants it to sit differently on their neck . . . but everyone has a different sized neck. So it’s harder if I am just making it for a store and I don’t know whom it’s going to. But I don’t like for things to be too long because it gets REALLY expensive (even every extra inch costs a lot more money) and normally, when I buy strands of stones, it doesn’t facilitate a 19 inch necklace. I have to be careful about that because I don’t want to buy two strands of stones and end up with extra. Though, sometimes, I’ll do a bracelet. Then, if I need to, I can add onto it.
work in progress
So how I start out with each piece is by putting everything on wire. I use platinum or sterling silver titanium wrapped wire, depending on how heavy the materials are. I’ve sort of strayed away from really heavy stones because, first of all, it’s not really that comfortable after a long day and it’s also harder to make it durable. I use sterling silver crimp beads to hold it together, but if the necklace weighs a lot, over time it wears down. It might take two years for it to wear down to the point where it breaks. I’ve experienced that. I test things out on myself. I remember once a necklace I made about 3 years ago was so heavy that finally it just gave in one day. I don’t want customers have things break, so that’s why I try to keep the pieces light. Some necklaces that are heavy I try to make a little longer so there is not as much tension on the clasp. I tend to use the same clasp for everything.
patience and inspiration keep Katie motivated as she works
Yeah I see that. I like that these clasps are fairly big too.
It’s so easy, and then you don’t have to fiddle around with it. The first year I was making jewelry, I used all sorts of clasps, and my mom and I would kind of test things out. It just got difficult to put things on, like if you were trying to hook something, you’d have to have someone help you. With this, you just slip it on. I used to use magnetic clasps for bracelets, but they had to be such a strong magnet that you would just stick to something! I would walk by my fridge and all of a sudden be ON my fridge. [laughs] I realized that as great as it was, it just would not work. It’s been a process. I’m still learning and figuring out what works and what doesn’t. But for the most part, the pieces that I sell are not that heavy.
What about the gems themselves? Where do they typically come from? A couple of different places. When I first started out, I was actually in China visiting one of my best friends who was studying there. We went to a pearl market and a dirt market. The pearl market was indoors, several levels, and had tons and tons of vendors. It gets hard to tell who is selling you good stuff, who is overcharging you, etc., and I got a little bit intimidated. I did buy some stuff, but I will say that I am glad I had friends with me who were fluent in the language. I am also very hesitant to buy materials abroad because you just never know where they come from and how they are manufactured. Obviously, when I buy stuff in Connecticut, which is primarily where my stones come from, I still don’t know the conditions of the workers where everything came from, but I just grew uncomfortable buying things overseas.
gems galore
In Connecticut, I actually have a store that will occasionally host trunk shows for big vendors, and they will give you a really big discount. I have a tax ID, so I don’t pay sales tax and normally I get a wholesalers fee. I also will get things in the Garment District sometimes, just for convenience, but I prefer buying from people that I completely trust are not selling me stuff that’s fake and with whom I have a good rapport.
I also noticed that one of the pieces on your Etsy had wooden beads. What’s your source for that type of material? That’s actually the first time I have used something like wood. I just fell in love with the strand and felt like I just had to make something with it. I got that in Connecticut actually. It’s great because it’s a light necklace, even though it appears otherwise.
wood and carnelian necklace available for purchase at http://www.etsy.com/shop/KatieBartels
For any of your pieces, do you have to cut the beads or do they come pre-formed/ready to go?
Fortunately, they already have the holes in them, because I can only imagine what that’s like! My eyesight has already started to go from staring at small stones, but putting all those tiny holes in them too? No, thank you! [laughs]
It must be a really difficult process, especially for smaller and/or flat beads.
Yeah, I actually don’t know how it’s done. God bless whoever does it because it’s not in the cards for me! [laughs]
check back soon for part 3 as well as Katie’s tracklist!
There’s quirky, and then there’s sophisticated. Rarely do the two come together in the jewelry world. While often more expensive, many high-fashion baubles are far from our reach. Meanwhile, costume jewelry, while it may satisfy our aesthetic cravings, isn’t quite as filling on the side of quality. Fortunately for those of us who like to have a little fun with our forms of adornment, Katie Bartels, founder of Yellow Socks, LLC, has come in to fill the void.
Having worn a set of pearls from infancy (albeit, plastic at that stage), Katie knows her way around jewelry, and as a designer, she has a good feel for her customers too. Though she has only been in the jewelry business for a few years, she has been making her own pieces for quite some time. With semi-precious stones and heaps of creativity as her foundation, Katie is innovative without losing sight of the need for timelessness and, most of all, quality. Finding inspiration from fashion magazines, her upbringing, and even the Rachel Zoe Project, Katie is always in search of something new to add to her ever-growing collection of original necklaces, earrings, and bracelets.
However, don’t be fooled by the rocks that she’s got. Despite her incredible talent, Katie is still super friendly, easy-going, and puts her customers first. We had the fortunate opportunity to meet up with Katie in her Manhattan studio to do a little “mining” of our own as we watched her work and discovered a little more about her creative process. Take a moment and join us to find out What’s Good with Katie Bartels, Founder of Yellow Socks, LLC and local gem class heroine*:
I checked out your Etsy site last night and I noticed that you had around 10 pieces up, but I see that here in your apartment, you have a ton of stuff. Can you explain this discrepancy in items for purchase online vs. what I see here?
Well, I actually sell my stuff in stores in Connecticut and on Etsy. Right now, you’re seeing a lot because I have a trunk show in two weeks. So I have kind of been stockpiling stuff. Some of the things at the trunk show are also available for purchase on Etsy, but I just don’t want to have someone buy it there and then have someone also buy it at my trunk show. I’m constantly bringing stuff back to stores and it gets hard to keep track, so I just want to make sure that I have enough pieces here as well.
a portion of the Yellow Socks, LLC collection
What are the names of the stores in Connecticut where you sell your jewelry?
I sell at four different stores. One is Images, which is a photo and framing place located in Old Greenwich, Connecticut. Actually everything in my apartment is framed by them. They have a lot of different artists that have shows there. They hosted my launch party in September of 2007. They kept a bunch of my pieces there, and I have been switching out stuff. I would say about every 8 weeks or so, I bring in a new collection to them. I like a smaller, artistic, and more boutique-like feel.
photos don't do the collection justice. just trust us: it's amazing
I also sell my work at Beadz Boutique in Darien, Connecticut. It’s a make-your-own jewelry place, but they also have a lot of jewelry there from different designers. I don’t sell anything made of the stones they have there just so there’s no doubling up. Another place where I sell is 06830, which is a gift store in Greenwich, Connecticut, where I am from. I also sell at Blades, a hair salon located in Greenwich, Connecticut that’s kind of funky, so I keep some colorful pieces there. I am constantly rotating stuff. I go home about every 6-8 weeks and bring new pieces.
Your trunk show will take place in NYC, right? Yes, I’m actually hosting that here in my apartment. I’ve had two before that I’ve done here. It’s just so much easier because I have all my stuff and I can keep an eye on it. Also, I don’t have to pay to rent a space! [laughs] It’s going to be a brunch trunk show, so I am going to make muffins and invite friends, family, and people in my program at school *(author’s note: Katie is a student at the Gemological Institute of America). It’s casual and more to get feedback, really. I get some of the best feedback that way because friends are willing to just say, “Oh, I really like this,” or “This would be great if it were longer,” etc.
more of the Yellow Socks, LLC collection
So beyond the trunk shows, do you sell anywhere in NYC? If not, do you plan to at some point? Not yet, but that’s my hope. It’s a little difficult to “get into” stores. I haven’t really gone outside of my comfort zone of places where I know the people who own the stores either personally or have friends/family who know them personally. I know that my stuff is safe and well-protected then. But obviously, in order to expand, I have to step away from that because I don’t have friends in every city.
So while I’d love to sell in New York, I’ve also heard that it’s not the friendliest of cities in terms of retail. I’ve heard some not-so-great things about major retail stores and their poor treatment of designers, and I really want to be careful. Also, part of me really doesn’t want my work to be replicated. I’ve already had that issue arise once in Connecticut when someone wanted to re-create one of my necklaces. I was like, “No, that’s my design!” [laughs]
Selling in NYC is definitely something I want to focus on this summer, which I plan to take off in order to really expand and find more stores, especially in beach towns because I make so many pieces with pearls (which makes them perfect for that market).
work in progress: pearl necklace
How has growing up in Connecticut influenced the pieces you create? Well, my pearl collection is definitely influenced by the fact that I grew up in Connecticut. My second complete sentence as a baby was “I have pearls.” I would walk around in a plastic pearl necklace every day in preschool. Pearls are just something you see all over the place in Connecticut. I’ve always worn them and not really thought of it as a powerful fashion statement. But when I got to college, people would also note, “Wow, you pull off pearls really well.” I never thought of them any anything other than a normal necklace, but they really will “class up” any outfit and add a sophisticated touch.
Katie Bartels modeling one of her newest pearl pieces
I started really working with pearls around a year ago. At my last trunk show, I got a really great response to it, so I started involving more pearl pieces in my collection. I’ve been buying tons of freshwater strands as of late. Overall, pearls really did influence my aesthetic, though some of my pieces are funkier and use a lot of color—though even this is part of that WASP tradition of wearing a crazy amount of color. For example, my grandfather will wear kelly green pants and a pink blazer together. So I’ve always worn really bright colors and can pull it off. It’s like, you can wear Lilly Pulitzer and it will be so bright people need sunglasses. [laughs]
What about your work ethic, pricing, etc? Has your upbringing in Connecticut had any noticeable influence there? Yeah. I have tried to keep my stuff pretty reasonably-priced. If you’re going to spend several hundred dollars on a necklace, you’re going to go to Tiffany’s or some other big jewelry store. However, the semi-precious market is really growing, and people are willing to spend $300 – 400 on a necklace. But I want to keep my price point a little lower than that. I have some pieces that are more expensive, but that’s just to cover the materials. For example, the necklace I am wearing would be $400, but that’s because the materials to make it cost me so much money. I have tried to keep my pieces within the $100 – $150 range because that way, the client won’t have to think too much about buying the piece. They think, “Oh, I really love that. It’s a little expensive, but I am getting pearls, semi-precious stones, a sterling silver clasp . . .” so it ends up being worth it.
pieces from the new collection
In terms of work ethic, I was brought up to always go after what I was passionate about. I was a government major in college, so my jewelry business has nothing to do with what I did in the past. I just sort of stumbled upon it. I always made my own jewelry in college because I could never find what I really wanted to wear. Sometimes, I could find what I really liked, but then it was WAY too expensive. That’s when I started making my own stuff. When I was 22 and I had been out of college for about a year, I was in Barney’s wearing the same necklace I am wearing now, actually. While there, someone stopped me and asked me where I had bought my necklace, to which I replied that I had made it myself. They were a bit surprised and wanted to know where I sold my stuff, but I admitted that I was just making things for myself.
the necklace that is Katie's claim to fame
From that, I began to realize that there was a market for my work and I just went with it. My parents really encouraged me, even though it was not my game plan in life to become a jewelry designer. If you’d asked me 5 years if I would become a jewelry designer, I would never have pictured it. My response would have been, “Really? I don’t think so!” [laughs]
Shoes are quite universal. As long as you’ve got feet and an eye for style, a shoe can be your best friend. Forget diamonds, ladies. Shoes get you from point A to point B. They’re faithful to your attire. They protect you, yet allow you to express yourself as you see fit. They love you no matter if your dress size reads “2″ or “20,” and they will always fit. Though at times, much like people, shoes see their bad days. They are created without flair and left to sit on the shelves sans attention. They are tired, old, and rugged. They need a makeover.
Just when it seems like there’s no hope, in comes Poseedora*, a shoe design company based in the Dominican Republic that adds a whole new twist to the “green” movement with purples, blues, pinks, and a whole lot of fierce. A “Pimp My Ride” for shoes, Poseedora* takes old and/or lackluster shoes and turns them into something beautiful and amazing with vibrant colors and other fascinating detailing. But make no mistake: behind all the sparkle, ribbons, and paint, there is an incredibly smart, saavy, and super down-to-Earth businesswoman at the helm who has been working her magic on shoes and clothes for years.
Natalia Rodriguez, the Founder and creative genius behind Poseedora*, took some time from her schedule to let me pick her brain about her creative process and how this amazing idea came into being. So today, take a minute and put yourself in someone else’s shoes as we find out What’s Good with Natalia Rodriguez of Poseedora*!
Why “Poseedora”? Where did this name come from?
The name “Poseedora” comes from the verb “poseer” in Spanish, which means to own or have something. In this case my brand’s tag lines is: “Poseedora de estilo”, which means “Poses style”, referring to the women that wear my shoes, they possess style.
BEFORE
How long have you been professionally renewing/renovating shoes? This March it’ll be my first anniversary.
AFTER
Where did you get the idea to do this?
It all started due to my compulsive shoe shopping. I remember I use to buy expensive and cheap shoes at least once a month. Once, I bought a pair that only lasted a week. Since I still liked them, I started pasting pieces of cloth and recycled materials onto the shoe. People in the streets loved my work so I finally decided to work with my brand as an independent artist.
BEFORE
How does your family life/upbringing relate to your work?
I think my older sister has been my biggest influence in the art field. She’s majored in furniture and interior design in Spain.
AFTER
How did you learn to work with shoes in the way that you do? Do you have technical training in this art? I majored in advertising and communication in my country, which gave me some basic knowledge about creativity and design. When I finally decided to go all the way with Poseedora I contacted a shoe man that gave me technical training in shoes and was kind enough to allow me to freely use his workshop.
BEFORE
Do you conduct your work based on client requests or independently? Both?
I would say a little of both. According to the clients preferences I design something and by watching how my clients dress I get ideas on what to propose.
AFTER
Do you do all your work alone or do you have others who help you? I have a small crew that helps me.
BEFORE
What is your source of inspiration when you start a design?
All the things that surround me, usually colorful and bizarre objects. I also take into consideration the latest [trends] in fashion.
AFTER
Have you noticed any specific trends in shoe design that you really like?
Right now, the bigger the better. I love ankle booties, the “Pretty Women” knee-high boots and asymmetrical wide straps.
Natalia modeling her work
What about those that you hate?
I would probably never wear Crocs. They may be comfortable, but they are hideous. They look like Jason’s mask [from the horror movies]!
BEFORE
Do you do any other creative work outside of shoe design?
Yes, I’ve tried “pimping”"purses and clothes. [laughs]
AFTER
What are some of your favorite shoe designers/labels?
Betsey Johnson, Dior, Gian Franco Ferrer, Christian Louboutin and Agatha Ruiz de la Prada.
BEFORE
Do you have a specific design space to do your work?
I’m currently building my workshop.
AFTER
Do you listen to music as you design? If so, what style(s) of music? Any favorite songs that help you stay focused and/or inspired as you work?
Yes, I like to listen to music while I work. It keeps me going [laughs] I listening to anything from Beyonce, Madonna or Shakira to Kaskade, Desyn Masiello and Ministry of Sound. I usually listen to mellow AND upbeat tracks.
BEFORE
I noticed that on your site, you have this as one of the key elements of your work: “ El proyecto funciona bajo el lema de: ‘recicla y reusa lo Viejo’” As recycling and sustainability are an important part of your work, has it expanded beyond shoes?
Poseedora‘s recycling and reusing of can be applied in many objects. I have clients that hand me down simple dresses and t-shirts to redesign them just like I do with shoes. I posted in my blog some pictures of these projects, but I admit I preffer working on shoes.
AFTER
What is your overall goal(s) in relation to Poseedora?
I’d like to work designs for men, become a local well-known brand, and eventually create a belt collection.
Natalia modeling her work
Can you re-designed shoes be found outside of the Dominican Republic? If not, where can they be found in the DR?
The shoes I have on sale are here, in the Dominican Republic. Since my work is very personalized, I have no merchandise in stores yet. People contact me through e-mails or other client’s references of my work. Others have seen me in local TV or read my magazine articles and interviews. However, I’d work for anyone outside the country, so long as he/she were willing to pay for the shipping and handling! [laughs]
Retail DJ: But do you think that “otherness” is becoming—or has already become—the norm?
Felix Flores: Not really. I think if anything, it’s fading away. I mean, sure, you can that because Lady Gaga exists, that it’s the norm. But how many people dressed like Lady Gaga do you see in New York City every day? None.
You see people in black, people in . . . pea coats. You see leather boots that go to mid-calf.
Retail DJ: Because people seem to be plateauing here in terms of fashion, what have been people’s reactions to you and what you wear—particularly, things that are a little bit more “out of the box,” so to speak?
Felix Flores: I feel like I get a lot of negative stares. I get them from a lot of guys—and girls! I am really shocked when I see girls who [give me negative stares] because I feel like women would have more of a natural interest toward fashion, especially in New York. For example, last night, it was Valentine’s Day, and I was on the train coming home and saw all these couples. And they were, like, whispering and pointing. And I was like, “What? I have earmuffs on! What’s so shocking about that?”
Retail DJ: But what was the rest of the outfit?
Felix Flores: Just my black jacket.
Retail DJ: Are the earmuffs very large?
Felix Flores: No! They’re like “regulation size.” [all laugh] But I do also get people coming up to me a complimenting me a lot—people you would never imagine—like little old ladies or, like, war veterans. [all laugh]
Retail DJ: Seriously, war veterans? That’s such a specific, yet random, category.
Felix Flores: Yeah! I had this one guy, who told me he was on the way to the VFW. (Veterans of Foreign Wars (http://www.vfw.org/)) when I was in Michigan, telling me he really liked my look.
But, I don’t know. I don’t really think about other people. I just ignore them.
Retail DJ: Did you grow up primarily in Michigan?
Felix Flores: Until I was 13, and then I moved to Florida.
Retail DJ: What part of Florida were you living in?
Felix Flores: This place called Winter Haven. It was near Orlando.
Retail DJ: So what about fashion there? When you were growing up in both these locations, do you think that traveling and those environments influenced how you dress today?
Felix Flores: Yeah, of course, because I wanted to be nothing like that. [all laugh]
Click below to continue reading What’s Good? Felix Flores (Part Two)
Here at Retail DJ, I’ve had the opportunity to watch quite a few people get dressed, undressed, and dressed all over again for the feature Get Ready With __?__. But for this special edition of What’s Good and Get Ready With __?__, Kristal Munoz (Retail DJ’s resident photographer) and I went a hop, skip, and a jump over to Williamsburg to meet up with singer/songwriter Felix Flores for a little tea time chat with a catch. You see, this interview and photography session would be about more than just what Felix wears on a regular basis. He came up with the brilliant idea to let us get a sneak peek at his wardrobe for his upcoming trip to Mexico! Though traveling South of the Border for an entire month to shoot his new video and make a bit more music, Felix was cool enough to sit down with us (albeit, in top of a hot pink pig seat!) to give us his sage advice on fashion and to warn us of the dangers of Baltimore fried food. So come with us across the bridge for a bit to find out What’s Good with Felix Flores!
Retail DJ: So what’s going on? You are going out of the country soon, right?
Felix Flores: Yes, to Mexico.
Retail DJ: Can you fill us in on all the details for the trip?
Felix Flores: Well, basically we just finished our first music video. It’s for the song “Steady Hum Drum.” We’re really excited about that! We’re planning on two more videos, and couldn’t think of a better place to shoot than in Mexico. We happened to bump into a friend of a friend who works in an art gallery in Mexico. She’s throwing this big party –an opening for some show she’s doing in March. She said, “you should come down here, and we might be interested in playing your original music video in the gallery. We’re going to try to get you a show in Mexico City.” So, that said, we have all the contacts to get shows there, and the cinematographer we used for the original video, he decided this past Saturday that he was going to come with us too. So that’s great, and we don’t have to worry about anything.
We’re going down there. We’re going to shoot in the desert and everything a whole matador-themed video. We were thinking about getting a bull arena, but we figured that would be just a little bit complicated.
Retail DJ: Expensive, probably!
Felix Flores: So we decided to go with something more natural, and we couldn’t think of a better place than the desert. We originally had this idea of me in the desert covered in scorpions. [all laugh] But we couldn’t figure out how to make that happen without me actually getting stung or using a bad dummy. We thought of using a stand-in, but then we didn’t want to be [held] responsible [if anything happened].
Retail DJ: What is the name of the desert where you plan to shoot?
Felix Flores We are going to choose one when we get there. We haven’t decided that yet because there are a couple of places that we looked at. There’s a place Yerba de Agua, which is this petrified cascade (and that’s not a desert—it’s, like, a petrified waterfall), and there are bathing pools on top. We were thinking about maybe doing it around the bathing pools. But we’re also looking at the desert. We’re not sure where we’re thinking. There are some sand dunes near Torreón. I have a friend who’s a teacher there, and he told us about this. He took pictures of these beautiful sand dunes.
So we’re going to decide later. We’re going to take a week to location scout. We’re going to be there a month.
Retail DJ: Oh wow! I didn’t realize the trip was going to be that long. When are you leaving?
Felix Flores: Monday, February 22nd.
Retail DJ: Wow, that’s great. So soon!
Felix Flores: Yeah! So after we finish the first one, then we’re going to do another one. But we have to give the concepts up to the cinematographer or the director of the video. I am not going to do any of the “creative” or concepts for this video, just the first one.
Retail DJ: Weren’t you working on one here in the city? Is it a two-part video?
Felix Flores: Yes, I was. The first one is the one we just finished up. It should be ready soon. (author’s note: the video has been completed by the time of this publication). So we’ll see. It’s been delayed. We had a music video premier party, but the music video never arrived. [laughs]
Retail DJ: This reminds me of the moment on Real Housewives, when Sherée had a fashion show “with no fashions.” She had no clothes, no models, nada, and just turned it into a get-together. Funny stuff. But in your case, it wasn’t that bad, right?
Felix Flores: No, no! I at least had my piano with me and I performed, but I didn’t have the music video.
Retail DJ: So you’ll be in Mexico for a month, which is a pretty long time. Will you be doing anything there besides just the video? You’ll be performing too, right?
Felix Flores: Yeah.
Retail DJ: Where will you be performing? Do you know any of those details yet?
Felix Flores: Those, I will have later and can give you as the date approaches. But beyond performing, we’re basically taking a small vacation, and we’re going to do a lot of songwriting too and creating concepts for the next bits of work. After this first video comes out, once we put it online, we’re going to start really pushing to try to get some representation and get interest in general from fans. We think the idea in the video we just finished is going to be interesting enough to get some attention hopefully!
Retail DJ: So how do you prepare, in terms of packing, for an entire month of travel? Do you have idea what you’re going to bring?
Felix Flores: Well, I have to bring a little bit of everything because where we’re going (for example. Torreón), it’s not going to be much warmer than here. We looked at the weather, and last week, it was like 39 or 40 degrees some days. But then we’re also going to be in Tulum and Cancún, which is, like, beachwear! Then we’re going to be in Mexico City, where it’s like 60s and 70s. So we’re going to bring sweaters, longjohns. . .
Retail DJ: Sequined pants . . . [all laugh]
Felix Flores: . . . sequined pants. Everything!
Retail DJ: How do you think this trip will compare to your Baltimore trip? (author’s note: Felix had taken a trip to Baltimore, MD a few months ago to perform)
Felix Flores: [laughs] Well, let’s put it this way: I won’t be performing at an all-you-can-eat buffets!
Click below to continue reading “What’s Good? Felix Flores (Part One):
Retail DJ: Beyond the ones that aren’t from your brother or your friend—where did you buy those? Where do you generally find records?
EZRAKH: Well, I actually used to have an internship at Turntable Lab. They’re a good spot to go to. Like I said, I don’t really buy new records that much—everything’s moving away from physical formats. If I do, randomly, like if I’m in the mood and I’m on 6th Ave near the Village . . . you know how the people have tables set up?
Retail DJ: Yeah.
EZRAKH: A lot of the guys with those big record tables set up—if I have time and I’m there, I’ll just sit for a couple minutes and look for something. That’s how I found the Herb Alpert “Rise” record. Just randomly doing things like that, I can come across good stuff. I found a pressing of “The Message” by Grandmaster Flash and the Furious Five like that as well. It’s not that I don’t want to [buy records/music]. I support the artists by buying their digital formats mostly. But if there’s something I really want I’ll get it. One of the things on my list to get actually is Only Built for Cuban Links II [by Raekwon]. Turntable lab has it on purple vinyl. So I’m probably going to be getting that soon!
Retail DJ: What do you mean by “purple vinyl”?
EZRAKH: It’s just the colored vinyl.
Retail DJ: Does it play differently or is it totally for aesthetics?
EZRAKH: Nope—plays the same. It’s more of an aesthetic thing. I mean, for Serato, when they put the colored vinyl thing out, it’s all for aesthetic. But even when you have actual records, in some cases, they’re probably collectors’ editions and/or have only a certain amount of pressings.
Retail DJ: So besides these favorites that you pulled for us, if we were to raid your computer or iPod (or whatever you listen to when you’re on the go), what do you think would be your top 5 songs right now? What is presently on heavy rotation?
EZRAKH: Right now. . . I really like Shafiq Husayn’s album En A-Free-Ka. He’s really great in terms of music. It’s all-in-all a great album. He’s actually one of the members of Sa-Ra. His songs “Changes” and “Le’Star” are my two favorites of his. I’ll have to play those later for you.
Le’Star:
Changes:
Retail DJ: It’s more like funk and soul, right? Because I feel like that’s what a lot of the Sa-Ra tracks sounded like.
EZRAKH: Well yeah, that’s the great thing about it. You can’t put his or Sa-Ra’s music in a box really, because it still has a hip hop aesthetic to it. They do these songs where they’re like, chatting or rapping over them, and it’s like, “This sounds like old school hip hop party music, but it’s so soulful and futuristic!” So in that respect, you really can’t necessarily classify them as of yet. I feel like they’re doing something great by just creating new sounds—or, at least, blending old sounds to create something new.
I’m also listening to MF Doom – “Absolutely.” This is a good track. It’s from his album Born Like This.
J*Davey came out with a new EP that’s really good, but one of my favorite songs that I’ve had on rotation from them lately is “Li’l Big Heads”
Retail DJ: Yeah! I like that song. It has the weirdest video. Have you seen the video?
EZRAKH: Hmmm…I’m also listening to –and it’s not new, but it’s been on heavy rotation on my iPod—Roy Ayers’ and Fela Kuti’s album Upside Down. They have a song called 2000 Black that’s really good. It’s like…13 minutes long (like every Fela Kuti song)! [laughs] But it’s really good!
Hmmm…one more? How could I forget? I saved the best for last: Jay Electronica.
Retail DJ: Yeah! It’s crazy—I was just about to ask you about him! Perfect segue.
EZRAKH: He gets me excited and amped about hip hop again. He conjures good feelings about where hip hop could still go because he has a classic feel that harks upon Rakim, Nas (Illmatic). He has a style like that, but on the same end, he goes and flips it on people and does 9 minute songs over movie scores. He raps over Radiohead. That’s actually the song I’m really feeling right now: “Uzi Weighs a Ton”
I just feel real tough when I listen to it. [laughs] It’s that kinda track. It’s really dope. And he lays everything down. No matter what your beliefs are, he really is saying something positive in his rhymes. I just hope more people get the chance to hear it. I hope that certain powers that be aren’t fearful of what he can say because, I mean, he’s saying a lot of great stuff.
Retail DJ: I noticed that on your blog—which I know you don’t get to update that often, but when you do, there’s awesome content—you mentioned him on his January 1st post. He was also brought up by NSR, an MC we recently interviewed. Everyone’s talking about him! He’s an underground artist, but then in some ways he’s not because he’s become really popular these days. Who else is out there whom you could classify as “underground” that you hope blows up and gets more recognition?
Do you ever meet people whom you look at and wonder where they will be in 10 years, knowing that it will be a much more awesome place than you might ever see in your entire life? I felt that way when I met EZRAKH. It was a freezing cold day out in Rahway, New Jersey, the place where the super talented Ezra Jared Khalil Herbert calls home. Armed with a tape recorder and my laptop, I set out thinking I’d find a good DJ, and I left feeling like the settlers did when they found something of worth during the Gold Rush. Incredibly knowledgeable of music, filled to the brim with talent, and possessing the prized ability to make one fall in love with music all over again, EZRAKH has nothing to be modest about. Despite his musical gift, EZRAKH is down-to-Earth, open minded, and ultimately just wants to share the good music of the greats with the rest of the world. So take a moment from your day and check out the one I spent finding out what’s good with EZRAKH:
Retail DJ: I want to start by talking about your trip to Chicago. The first track of yours we featured on the site was your Windy City Mix, which is amazing in that is has a ton of old school house, juke, and all kinds of stuff going on in it. Can you tell us a little bit about that trip? How is the scene in Chicago different from that of New York?
EZRAKH: All in all, it was a great trip. It was certainly an experience going out there. I got to spin at two separate venues. One was the Honey’Comb HideOut [at the Elastic Arts Foundation]. It’s on Milwaukee Ave. in an area they say is a bit like the SoHo of Chicago. It was a friend of mine, an artist named Drunken Monkeee, who threw the party. He’s pretty big in Chicago—definitely a crowd favorite. He has a good following out there. The vibe was great. The second venue I played was the Dark Room, which is also a great venue. They have a great setting, great sound. I DJed not only for Drunken Monkeee’s live performance, but I got to switch off with DJ FreezeRock, who’s a great hip hop and house DJ from Chicago. He actually blessed me with a lot of good house music as well. Like I said, all in all, it was definitely a great experience.
I feel like out in Chicago, they are more willing to explore sounds. They are not afraid of their creativity and being able to show that to people. People really appreciate it there. I feel like their ears are more open, their minds are more open. Though I think that could also be the result of the great blend of people out there. You have a lot of old soul and greats like Miles Davis, Curtis Mayfield, the evolution of house . . . It’s just a great city, especially in terms of music. It’s a place that has really helped American music evolve, as well as international music for that matter.
Retail DJ: How did that gig actually get started? Was it solely through your friend Drunken Monkeee or had you lived there before and made connections then?
EZRAKH: Well, Drunken Monkeee’s fiancée is actually my cousin.
Retail DJ: That helps!
EZRAKH: Yeah, it definitely helps. A little bit of nepotism. [laughs] But I had met him over the summer at a family reunion, actually, and he was just telling me about the scene out in Chicago. So I told him I DJ, and we said then that we need to definitely link up because as artists, especially underground/non-mainstream artists. I think that one of the key things you have to do is link up with other artists—be they on the mainstream or non-mainstream level. It’s especially important that you connect with artists from other parts of the country and the world in order to create something lasting like an artistic exchange (throughout various cities and different cultures). It can influence a person’s art for the better.
Retail DJ: What are some of the tracks, if you can remember, that you played during your shows in Chicago?
EZRAKH: I’m really big into the UK funky [house] genre, if you want to call it that. The music and the scene is a mix of things: dancehall, UK garage, and Afrobeat. I played a lot of that out there and people hadn’t heard it before, but they were definitely feeling it. One of the tracks I played at both shows was, of course, “Soul Makossa” by Manu Dibango.
That’s a good one. Everybody knew that one, so they felt that. I was able to branch into some Fela [Kuti] and then get on an even deeper side of things in terms of the UK funky[house] genre with Lil Silva, Roska—he’s really good.
Retail DJ: Yeah, I love him!
EZRAKH: Yeah, he’s really good. He’s good at mixing the aspects of deep house, dancehall, and UK garage together. Even those guys L-Vis 1990, they have some pretty killer tunes. They are a little more on the electro side, but they definitely create really good stuff.
Retail DJ: I’ve noticed that in some of your mixes, every now and then, you drop some Brazilian stuff. You’ve even had some funk carioca on a mix. Did you play any of that, or no? Was it mainly British and dancehall stuff?
EZRAKH: Unfortunately, no, I didn’t get to play any of it there, but I am sure they would have liked that as well. When I was DJing, I really hadn’t organized anything. A lot of the time, when I DJ, I start of with some tracks that I feel are a good blend between something that they’ll know, something that’s classic, and something that fits into the sound I am trying to create for a set. Then it’s just all off the cuff. If they feel it, then great. I try to blend in stuff that they know, then do remixes and stuff like that. At the end, I just hope that they’ll feel it, and out there, they did! They definitely do out here as well, but it was just very surprising out there, and I am happy that I was able to experience that.
Retail DJ: As a DJ who’s based in NJ, considering you were talking about feeling things out there and out here, when you say “here,” are you referring to New Jersey, New York? Where is your “base” in terms of playing and DJing out?
EZRAKH: When I say that, I mean New Jersey and, in some cases, New York. I was blessed to have a residency at Bob Bar on the Lower East Side. The mix that I gave the manager was a more funky, Afrobeat mix. And he was like, “Yeah, you know I love this! It reminds me of Fort Greene, back in the days when I partied there. But the thing is—this was a hip hop club. I’d actually done their Halloween party. I would say it’s definitely tough when you have a mainstream crowd, because it’s harder to drop things, to ease certain sounds onto people.
But going back, mainly when I say “here,” I mean New Jersey, top 40 clubs, stuff like that. . . places like Manhattan. But that’s understandable. At those types of clubs, people don’t necessarily go there to gain a new musical experience. But I also spin in Brooklyn. I’ve been to a place in Bushwick called House of Yes. They are really open to all kinds of sounds there. In the venues and small parties I’ve done in Brooklyn, people are definitely more open to different types of music. I feel like the culture in Brooklyn—and no disrespect to Manhattan, because it has a great culture as well—is more mashed up and blended. Even when you look at Manhattan, it’s sorta separated.
Retail DJ: Big time.
EZRAKH: But when you look at Brooklyn—although it definitely has its separations and sections and everything—I feel like there’s a great spirit of culture and love out there.
Retail DJ: So what’s hot in New Jersey right now? What is the vibe musically where you are playing now?
EZRAKH: Well, Jersey’s all about club music, even since the late 80s, early 90s. Nowadays, when you hear the term “club music,” you think of Baltimore club, Philly club, Jersey club, though that’s all an offshoot of the original Baltimore stuff. People like DJ Tameil, Tim Dolla, Brick Bandits, and even DJ Sega out in Philly—they are really creating really hard hitting stuff. They’re making great sounds and they’re able to blend that hardcore, raw club music that you hear with crazy stuff you’ve never heard before. For example, you have remixes of Sponge Bob Squarepants. I think that’s a Baltimore track, actually. And DJ Tameil does remixes of like, Pon de Floor, DJs from Brick Bandits are doing remixes of La Roux, etc.
I feel like generally though, just as a scene or an environment, a vibe, it’s a little stagnant. Props to DJ Walla, because he’s doing his thing, but it’s like an abyss. It’s always DJ Wallah and a lot of heavy hitters out here are doing their thing with parties, and that’s cool because they get people out. But in terms of really just creating something new, I feel like that needs to happen very soon.
Retail DJ: Maybe you’ll be the one to do that!
EZRAKH: Yeah, I hope so.
Retail DJ: Now we are putting all this pressure on you! [laughs]
EZRAKH: I mean, I’ll try! I am working with a couple of really great DJs: DJ Reck and DJ O for 1. They have a radio show, Late Night Left on 107.9, Caribbean Zone. DJ Tameil also does guest sets there. They’re trying to really push for that expansion of sound and music culture.
Retail DJ: Going back a bit, you clearly are one of those people who is deeply into music, and that’s totally respectable and awesome. I was wondering how that all started. Take us back to baby Ezra, and help us pinpoint where this love of music came from.
EZRAKH: Baby Ezra, toddler sister Amy, and older brother…we all used to dance to the rhythm of the washing machine.
Here’s a sneak peek at the amazingly talented artist that is Ezrakh, aka Ezra Herbert. We met up with him last week on a super cold day and left with warmth in our hearts from the hope that good music and skill are both still actually in existence. Ezrakh is a reminder that they actually are thriving. Here’s Ezrakh giving us a live demo of his work:
Tracks in this video: Mr. Fingers- “Mystery Of Love” 2. Michael Jackson-”Liberian Girl (Funky Remix)” 3. Mujava-”Township Funk”(I ended the video right as Ezrakh was adding that one in)
This is Part Two of the What’s Good? interview with NSR (continued from Part One)
Retail DJ: Could you tell us a little bit about the writing process for you?
NSR: I think the writing process differs a lot. I really like to write to beats. I feel like the best stuff comes when you craft your words to a beat. But at the same time, sometimes I’ll be chillin’ on the train and I’ll get inspired by something that I see or think about. And then I’m writing ideas down. I have a lot of random ass ideas that are written down. There are pages of ideas, and I don’t know of how much use they’ll be to me in the future. The worst thing for me is that I’ll think of melodies, and I think I’ll remember what the melody if I write down the actual lyrics, but then I forget all of them. So I’ll try to go back to them and it will just escape me. It depends. Sometimes I like writing late at night, alone, by candlelight, with a nice cup of hot chocolate. But sometimes I like to go in the studio with a bunch of people around and watch the whole creative process and contribute in terms of production and figure out a concept, then throw on headphones and go right to it. Or I’ll have the beat just loop and write to it on the spot. So it totally depends on what the situation is.
Most recently, I did a project with another MC named Nickname. Our group’s name is Memory Laine. We just released an E.P. called The Spotlight E.P. That was like the most intense writing situation I’ve had because we basically had the studio for a week, and we were in there night and day just writing and recording and figuring out different concepts. We did that whole album in essentially a week, aside from mixing it and doing touch-ups. It involved a lot of bouncing ideas off each other, and writing, then a lot of re-writing, then me spitting some verse and Nick being like, “Yeah you could probably re-write that a little here,” and vice-versa. It was cool. It’s definitely different from you sitting by candlelight and doing whatever you want to do.
Retail DJ: I want to ask you more a little later about your collaborative projects. Before we get to that, I wanted to find out a little more about the production of your tracks. Besides feeling bad for some of the drunken hookups mentioned in “Better With You,” I found myself wondering who did the production. I listened to that song and thought, “Oh sh*t, that’s a Chaka Khan track (later sampled by Stardust)!”
NSR: Holla! You knew it was Chaka Khan. Most people just say Stardust, not the original.
Retail DJ: [laughs] Yeah, we’re not like that. So who does your beats? They’re really really good!
NSR: Thank you. I work with an all-star producer out of Boston named Turbz. He’s a big DJ in Boston, and a producer as well. I met him at Ithaca College. He is 3 years older than me, and he kind of mentored me in radio, and we did some stuff in Ithaca. We also have a good mutual friend/fellow MC who I’ve done some stuff with as well. He goes by Terrordome. We all went to Ithaca.
So about a year and a half ago, we reconnected, me and Turbz, and started making songs. He just started sending me beats. I remember one time, he sent me a bunch of beats, and I wrote on his facebook wall, “I just wrote three songs to your beats. What’s good?” We hadn’t seen each other in probably like two years, and he came down to the city, and we just went into the studio and did “City Life” and some other tracks.
VIDEO:
We kinda just went from there. The entire project, The Darling Limited, was produced by Turbz. We worked foreign exchange style. He would send me beats –and this was before I had a studio at all; now I have a studio set up in my crib—and I would just record on my Macbook. I remember the first one, “Better With You,” was done with me in my bathroom, recording on the Macbook. It sounds horrible, obviously! But I was really inspired by him and his ideas, his production. We made that whole album with him being in Boston and me being in New York. He took about three trips to New York, and I took 1 or 2 trips to Boston. For example, “Adrien Brody” was created in Boston, and other things were created here.
Retail DJ: Do you see yourself ever doing any production?
NSR: Yeah, I would like to. I really would. I think that’s definitely the next step as an artist. I have a good friend and artist as well—his name is Dash Speaks. Over the past year, he’s really gotten into production, and now he’s definitely stepped up his game. He’s releasing an album on February 1st called Geography. He produced the entire thing, and I think there are 16 songs. It’s f*cking incredible. To me, that’s super impressive: to go from just rapping and singing to creating an entire sound for yourself. You can look at a lot of artists today and say, “Ok, you can rap. So what? Everyone raps. There needs to be more. You need to be doing more.”
But yeah, I would love to. I already know what my first beat is gonna be.
Retail DJ: Do you want to give us a little hint. . . exclusive??? [all laugh]
NSR: [laughs] I’ve contributed in the production process before. I used to play drums, so I’ve contributed in terms of drums and ideas, etc, but I don’t know how to work an MPC. I don’t know how to work Logic well enough to actually make beats.
So, yesterday, I was listening to Jay Electronica. To me, he’s one of New York’s best right now. He’s incredible. I think he’s from New Orleans originally. He’s working on a project with Just Blaze, and he released a song that’s kind of been blowing up the internet called “Exhibit C.” It was produced by Just Blaze. It’s one of the best hip hop records I’ve heard in a couple years, truthfully. So he has some lyrics in it that go [rapping]: “When I was sleepin’ on the train / sleepin’ on Messerole Ave out in the rain. . .”
It’s talking about his life being homeless. But I was playing with it and I kept bringing back: “when I was sleepin’ on the train, sleepin’ on the train, sleep-sleepin’ on the train. . . “ So I want to take that and make a beat out of it. Alright, excited for that? [laughs]
Click below to continue reading “What’s Good? NSR (Part One):
If modern science could somehow allow for the genetic crossing of Adrien Brody’s and Vincent Gallo’s striking good looks along with Jay-Z’s and Asher Roth’s musical styles, we would only get a tiny cross-section of the artist that is NSR. Better known as Noah Souder-Russo among friends and family, NSR can be added to the long list of great New York talents to come from the most unlikely places. Citing the NYC public school system as a staple in his upbringing, the Upper West Side as his stomping ground, and the world as his oyster, NSR weaves tales of heartache, mistaken identities, and a whole lot of smirk-inducing commentary into his rhymes. But there is more to NSR than his 6’2” frame and his rapping abilities. With an ear for excellent beats, a solid philosophy on style, and personality for days, NSR is quite the character, one we at Retail DJ are glad to have had the opportunity to sit down and chat with one Saturday afternoon. So come with us to the dimly lit, blackbird wallpapered basement of Lower East Side’s Gallery Bar to find out what’s good with NSR:
Retail DJ: I want to start by asking about the name. Typically, I start the interviews asking questions like “where are you from?” “Tell me a little bit about your background,” etc. But I remember when Alex, a mutual friend of ours, introduced me to your music, I thought, “Ok, N-S-R. . . Is his name Nasir? Where is this coming from?” So, why did you pick your initial as your tag name? How did that happen?
NSR: I had many names growing up as an MC. I started seriously rapping and recording music in high school, and I went under the alias Optics.
Retail DJ: Why Optics?
NSR: At the time, I was really into the New York City underground hip hop scene and there started to be a backlash in the late 90s as far as mainstream records are concerned. I called myself Optics because I wanted people to open their eyes up. This is really “fake profound.” So I called myself this because I wanted people to “see past the surface . . . to see the truth.” I was trying to get deep as a high schooler.
Retail DJ: How old were you at the time?
NSR: I was 16 or 17. Philosophy classes hadn’t started yet, so . . . [laughs]. So I called myself Optics, and the first records I put out were under that name. In college, I kept the name. I did radio, and had a couple of other aliases for whatever reason. . . just because, I guess, I was bored and wanted to call myself different names. I continued on and had that name basically up until I finished college. Even after college, people still called me that. I went through a little phase where I kind of just started thinking about the name and I had matured a little bit. At that point, it was this really underground, nerdy hip hop name like “Extra-Super-Curricular-Mathematic Rap Kid,” something like that. There are all these really corny rap names, so I was like, “Really, what is Optics?” I didn’t really like it anymore. I didn’t think it was a true representation of me. And, ultimately, as cliché as it may sound, I kinda just wanted to “keep it real.”
Retail DJ: What do you mean by that?
Well, at that point, my music was changing, and it was less of an attempt to rhyme every single word with every single word or to have the craziest punch lines, and more about me talking about not wanting to get a job, and wanting to pursue passions instead. It was about wanting to travel and politics, f*cked up things in the world, relationships, etc. It was more me putting my personal experiences and thoughts on a record as opposed to just rapping some crazy sh*t.
That being said, I was working at Nike, doing PR for them, which was my “big corpo’ job” that I took after college. I would always sign my emails “NSR.” Just like: “Hey Bob, I’ll have the TPS by Monday. – NSR” So then, around the office, people started calling me “N-S-R.”
And then, about a year and a half to two years ago, it came time for me to really [do something]. I wanted to put out new music. I wanted to get back into making music because I took a little absence from it. And it was a question of like, ok, I don’t want to go by Optics. I was going to go by “Noah S-R”
Retail DJ: That’s too much for the mouth.
NSR: It’s too much! [laughs] I just threw around names with my friends and one day, I was like “NSR. Cool. That works.” And still, to this day, sometimes I question it because people have introduced me at shows as, like, “Nessir” before. Like, “Yo, coming to that stage is NESSIR!” and I was like, “What?” So now it’s just “NSR.”
Retail DJ: Do you think about ever stylizing it with periods or other things? Why just all caps? Was this thinking part of the process, for example, for branding purposes?
NSR: No, I definitely didn’t think that far into it. I know there is another rapper out there with the initials B.O.B. I think he just changed his name, but he stylized it with periods. I don’t know. I signed it as “NSR” in emails and just went with that. I didn’t really think about it. Maybe I should get a name change? [laughs]
Retail: No, it’s good. [laughs] It’s nice and simple and easy to remember. Going back a little bit, because you mentioned that music is something you’ve been into for a very long time and that in high school you really started on a professional level. Could you tell us a little bit about how that all started? Why rap/hip hop? How does this music connect with your origins?
NSR: Sure. Like I’m sure a lot of people, I grew up influenced by and listening to a lot of different types of music. My parents were really into Motown, Bonnie Raitt. . .
Retail DJ: Bonnie Raitt?!?!
NSR: Yeah! Yo, my mom was heavy into Bonnie Raitt! I know it’s a jump from Motown to Bonnie Raitt, but . . . the Beatles . . . I grew up listening to a lot of different stuff. So I was known as a kid to always walk around with this little Live Verse Sony jump-off and listen to, like, Raffi tapes, and I would fall asleep listening to them. I remember as a kid doing my own radio shows up in my bunk bed in my room with my sister below. And that all led to a love of music and my wanting to do something involving it. I first started playing an instrument when I wanted to buy Beck’s Mellow Gold. It’s parental advisory, and my mom was like, “We’re not going to get you this. BUT if you play an instrument, we’ll get it for you.” What kind of a trade off is that? But I was like, “Word. Definitely!” so I chose guitar and went from there. Then I started drums. And I remember in junior high school, I was really into punk and ska and alternative, like the Seattle rock scene. And once in high school, a lot of kids I chilled with were listening to hip hop . . .
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