silverbull

Thurs Feb 1st- Hex Hector @Cielo Fri Feb 2nd- The Urban Relief Project, Stephane K bday party @ Stereo Sat Feb 3rd- Tedd Patterson for his monthly "Vibal" party @Cielo Sun Feb 4th- 718 Sessions with Danny Krivit @Deep Looks like im gonna be a busy man on the dancefloor for 4 nights in a row, whose down to join me.

I cant wait for MORILLO's CENTRO FLY CLASSICS thats gonna be a fun party if he stays true that sound. And on SAT FEB 23RD, STIMULUS>RESPONSE w/ Guest CEVIN FISHER.

i know exactly what you mean. Actually the ORIGINAL stereo is on montreal Created by Angel Moraes you know the guy who made the place on 33rd st a few months back. Well that explains it then, you keep goin to places that have no substance at all.

so what type of music are you into then and scene.

Satoshi tomiie is japanese and alot of the asians that i belive your referring too are chinese, theres a difference you know.

to suit the needs of one person probably wont happen. Sorry to hear your feeling this way, how old are you anyhow. Im 26 yrs old myself and have been goin out since 95 and think nyc is still great yeah yeah its not europe but still music is always the first reason i go out. And thankfully djs are playing music i want to hear.

went ot that party and it was a good time was a bit exhausted from the night before but enjoyed it very much. Crowd was decent size and everyone was having fun doing their own thing. Musically LES played much more diverse than last few times i heard them and it was good a lil something for everyone. Dont know when they will be back though.

alot of new venues have opened up recently, stereo on 33rd st, room service.

Maybe its the parties that your goin to and djs that your listening to that are boring. Or maybe you tastes have changed and your stuck right now. Aint noting wrong with nightlife, i can name 2-4 parties every night of the week that are amazing.

Theres your answer.

its basically a smaller version of VINYL/ARC thats what that main room reminds me of. It doesnt have much of a walk in crowd so depending whose doin the party and spinnin decides what type of crowd goes in there. AMAZING soundsystem great staff great place.

i'll be there.

Cielo is the best club in NYC but its not "NEW" like your asking. From that list 2nd would be PACHA for my tastes.

My fave mix drink is Orange juice with Cranberry juice and most places get it right. As for wine bars i have a thing for the place on 2nd ave and 3rd st.

so ami the only one using this color scheme then lol.

feb 9th its HECTOR ROMERO and SATOSHI TOMIIE over at CROBAR.

you again lol, like i said in the other thread the name of your party seems to be called BASSMINT SESSIONS wherever you do that party. And the name of the party im involve with is called STIMULUS>RESPONSE and when the party takes place in the main room of pacha we use that name. And the party is called Stimulus>Response basement sessions when it takes place in the basement. Hopefully that clarify things lol.

did i speak with you?

oh wurd whats goin on over there and what your doin?

which yr which style of house upcoming or jsut released? Roger sanchez last yr, david morales like 2 yrs ago, danny tenaglia (been a long time), dennis ferrer, joe claussell, quentin harris, mr. v all came out late last yr and quentins coming out early this yr. Its late and im going to sleep. Will think of more and add it up tomorrow. Now you only are talking about NYC correct?

http://www.bouncefm.com/index.php?option=com_content&task=view&id=112&Itemid=67&mosmsg=Thanks+for+your+vote%21 Video clip of LOLA Rocking it out at Pacha NAME　 Lola Voysest Rephann PROFESSION Webmaster/new media coordinator for multi-national firm EDUCATION Graduated from Columbia University with a BA in Political Science CITY I live in Brooklyn AT WHAT AGE DID YOU BEGIN TO DJ? I started DJing about 7 years ago WHO TAUGHT YOU HOW TO DJ? I essentially taught myself, although my friend EMan gave me my first pointers and “guided practicesâ€: take two of the same record and try to beat match them. Try to keep them together, making small adjustments to each to see the small differences in calibration from vinyl to vinyl, turntable to turntable. He also gave me some early mixing pointers such as: dropping bass, adjusting headphone volume to booth monitor volume to get the best balance for mixing, etc. The rest just came with practice and time. People can teach you the techniques and even theories of DJing, but developing your own style, as well as finding the techniques that work best for you, is up to each individual. YOU’VE OPTED NOT TO TAKE AN ALTERNATE DJ NAME – WHY? I thought and thought for a name that appealed to me and I just couldn’t come up with one. I find the names female DJs take--“Miss†something or adding –ess to whatever name they choose--a bit trite. As much as I’d like to, I’m not always good with separating the regular me from the business me, and who I present as a DJ is basically who I am as a person. FIRST RECORD YOU BOUGHT? Gloria Gaynor’s “Love Tracks†LAST RECORD YOU BOUGHT? Martin Buttrich “Programmer†b/w “Full Clip†on Planet E WHAT ARE SOME OF THE CLUBS AND CITIES YOU’VE DJ’ED IN AROUND THE WORLD? Outside of NYC, I’ve DJed in Pittsburgh, Miami, Montreal, New Haven, CT, and Washington D.C. In New York, I’ve played Cielo, Pacha, the Sullivan Room, APT, Love, Sol, Le Souk, Sapphire, and various other places. WHAT IS YOUR MISSION AS A DJ? I never really created something as defined as a “mission.†I enjoy music and DJing and I suppose what drives me is the enjoyment of finding good music and presenting it to others. I see tracks as analogous to words or paints in creating either a narrative or an image that communicates something. What drives me is communicating to others via music: presenting something that’s so personally mine but has resonance for others. Some of the best comments I’ve ever received are things like “I’d love to be a fly on your wall to know what your life is like when you’re not DJing†or “Your personality comes across in how you DJ.†DESCRIBE YOUR DJ STYLE I have played with different names over the years. I love ideas, concepts, memes. I used to try to characterize what I played with high-falutin’ names like “ASND: ancient science noir direct,†which actually came to be the name of an internet radio show I did (but stood for “another scientific needle dropâ€). Going back to that old name, I have always loved sounds that are dark, hypnotic, mystical, enthralling. Dark heavy basslines, thick washes of sound, strange modulations like something you’d hear in nature or during a ritual ceremony. Those are the sounds that get me, and they can be found in techno, deep house, nu-jazz, broken beat, tech house, progressive house, downtempo, classics, dub, interludes, and acapellas. I suppose my style is an amalgamation of all these things. HOW DO YOU PREPARE FOR A DJ SET? At this point, I could be much better with my prep. Sometimes I am super organized: I put all my recent digital downloads into playlist categories like “tech,†“deep†etc. and study then, sorting styles and energies into time zones through out the night, actually making lists in a notebook that I review a few times to get into my head. Other times, I barely do anything and I just take my CD books and a few vinyls and go. Prep helps especially in a new club setting or when the stakes are a little higher. It is more enjoyable to play, and pressure can be moderated, when things are somewhat organized. HOW DO YOU ORGANIZE YOUR RECORDS? My digital downloads are organized in binders. I code them numerically with disc series for tech-house and techno, house (vocal or deep), tribal, etc. Then I code by number, counting up from 001, within each series. I create catalog slips in Photoshop, print them out, and put them in my binders with the CDs. I burn two copies of each CD. Vinyl is less organized at this point. Basically it’s “stuff I play “and “stuff I’m not playing right now.†WHICH 3 RECORDS NEVER LEAVE YOUR CRATE? I doubt there’s three that never leave. But two I play a lot and can play just about anywhere would be Earth People (aka Pal Joey) “Dance†and Jerome Syndenham & Dennis Ferrer “Timbuktu.†WHAT IS YOUR MOST MEMORABLE HOUSE MUSIC MOMENT? There’s many. Dancing until I was drenched in sweat in the dark corners of clubs of my earlier days will always be fond memories, from Legends to Bang the Party to Sound Factory Bar Wednesdays. Currently, having a good night with my stimulus>response crew when we play the main floor at Pacha is always a great memory. Watching Jeff Mills from the mezzanine at Avalon about 2 years ago, while he worked his way through a suitcase (not record bag, but a vintage suitcase!) of vinyl, was inspirational and a favorite memory. Hearing DJ Vibe (from Portugal) spin at Deko Lounge on the Jersey Shore (typically not where NYers go to get their house music fix) was great because it was a step off the beaten path and a chance to hear an amazing DJ in an intimate setting. One of Danny Tenaglia’s last sets at Vinyl for his “Be Yourself†party was one technical bombshell after another, with people going nuts all over the club. I have many great memories from parties I used to frequent like Legends, Body & Soul, Bang the Party, and Soul Kitchen. OF ALL THE MUSIC IN THE WORLD, WHY DID YOU CHOOSE HOUSE? It chose me. I heard what I only knew as “dance†or “club†music as a teenager and just kept seeking out that sound and vibe. WHAT SEPARATES A GOOD DJ FROM A GREAT ONE? I suppose a great DJ is one which consistently entertains and moves a crowd. More often than not, their sets are technically good and programmatically interesting or engaging. A great DJ has that X factor of individuality or creativity combined with excellent technicality and presentation that makes for a “whole package.†A good DJ can move a crowd and plays well, but is a bit less creative, less risk-taking, less memorable than a “great†DJ. “Good†DJs don’t touch your soul the way “great†DJs do. “Great†DJs are constantly stretching themselves and their craft, and are playing from their soul. zDSC00739 WHICH DJ WOULD YOU PAY MONEY TO SEE? See below. WHY? I think you should always (or most of the time) pay to see a DJ. Whether it’s a local guy and a $5 cover or an international touring jock with a $60 cover, trying to get on every guest list and weasel your way out of the door charge is in bad taste. People need to keep this industry alive, and money is the only way to do that. With everyone a VIP, no one’s a VIP anymore, and the whole idea that people are entitled to special treatment is getting a little out of hand. That said, I will accept a guest list placement here and there, but I don’t go crazy trying to get on lists, I think it’s ok to pay reduced, and I will buy drinks at the bar. So to answer the question, I would pay to see any DJ I felt like going to see. WHAT ADVICE WOULD YOU GIVE UP AND COMING DJS? Stay informed, love music, have thick skin, be determined, practice, set yourself apart, develop your own interests and sounds, love it unconditionally because you will break even financially at best. Don’t take anything too personally. Know that life is like a see-saw and there will be times when you are up and times when you are down. Don’t take either to mean too much. WHEN YOU ARE NOT DJING, WHICH CLUB(S) DO YOU LIKE TO VISIT? My house. After that, Cielo. I also like Love. WHY THIS CLUB? Cielo remains my favorite club. The atmosphere is always so good. The sound is excellent, the warm, woody vibe of the place makes me feel happy inside, the bartenders are great, it’s the perfect size and relatively free of the pushy, sloppy, attention-whoring types that frequent the city’s other clubs. Love has fantastic sound, I love the darkness of the main room. It’s a club free of pretension and is one of the best set ups for really losing yourself in the music. IF YOU HAD TO START YOUR DJ CAREER ALL OVER AGAIN, WHAT WOULD YOU DIFFERENTLY? That’s a very difficult question to answer. I tend to chafe at revisionist questions like this because if I did things differently, I might not be who I am now. TELL US ABOUT DEEP SEE – THE PARTY WAS RECENTLY RE-INVENTED – CARE TO EXPLAIN? We’ve been doing the party for nearly seven years, and it’s gone through several incarnations already. It has changed as music, technology, and the City has changed, as the audiences who seek dance music have changed, as we have changed. EMan and I have for some time been thinking about how to officially relaunch the party to generate interest in it from a new audience. Deep See hasn’t been “re-invented†as much as it’s being relaunched, with the addition of our new resident and co-promoter, DJ Spider, who used to host his own Tuesday night party at Alibi on MacDougal St. The timing was right for us all to join forces. EMan and I were looking for a way to revitalize Deep See. Loving a party and doing it faithfully is not always enough: sometimes you need something new or something additional to shake things up a bit. Spider will be bringing in his own sound, as well as his experience in promotions, to add to a party that has already lasted much longer than is typical for a New York City party, especially one that’s done during the week. We feel Deep See is as relevant as ever, but not everyone is aware of it or chooses to pay attention to what we are doing. There may be a number of reasons for that, but we’re happy that we found someone who’s a good match for us and shares our vision for what’s possible to continue building Deep See into its next seven years of life. WHAT IS THE MUSICAL POLICY THERE? We love it all. Bring your “A†game. Don’t be afraid to experiment. Do not feel obliged to play any particular way. We want to hear what YOU have to say. All styles welcome here: the only requirement is that you bring it. We tend to prefer you don’t try to “please the floor†or bring the same 12 records everyone else is playing. Our audience is a bit too knowledgeable to accept that kind of laziness and tends to shun DJs who play in a formulaic fashion. WHO ARE THE RESIDENT DJS? Me and EMan, and we have just added a new resident, DJ Spider, formerly of “Alibi Tuesdays.†WHO ARE SOME OF THE GUESTS YOU’VE HAD? Recently, Liquid Todd from WKTU’s “Solid State†radio show and Sirius Satellite Radio; Steve Travolta from Cielo’s “Fresh Fruit†party; Doc Link from Chicago and a recording artist on Liberate Records (the digital label of Doc Link and EMan). Over the years: too many to mention, including Dennis Ferrer, Osunlade, Slam Mode, and dozens of others. DEEP SEE HAS A LOYAL FOLLOWING OF HOUSE DANCERS – WHY DO YOU THINK THAT IS? It’s multi-faceted. For one thing, Sapphire gained a reputation as a “dancer’s spot†on Tuesdays due to Wil Milton’s party “Touch Tuesdays†that had been there before Deep See came. During that time, Deep See was literally around the corner at Idlewild (now White Rabbit) and our dancers would go to Sapphire to Wil’s party and vice versa. There was a nice bit of traffic between the two clubs, and Deep See was attracting dancers in part due to EMan’s reputation with Bang the Party, which was always a dancer’s club. A lot of the dancers we have now are people who were coming to Deep See and Sapphire about 4 years ago when the situation I described above was taking shape; we have many new dancers that have come in with a new audience; and then we have the “house music circuit dancers†that go to places like House Dance Conference and other parties. Why do they come to Deep See? Well for one, I’ve been told by several dancers that the music at Deep See isn’t like any of the other parties they go to: it’s more rhythmically complex and varied. They know they’re going to get some sick beats thrown at them on any given Tuesday and they come because they know we can serve it. I’ve also watched the dancers’ styles develop in part due to the type of music we play: they break down the “beats between the beats†which, coincidentally, is something I’ve heard crumpers say about their highly stylized dance form. If you come to Deep See on a night when the dancers are really thick, you will see some very interesting dance moves. The dancers encourage us to push it, and the style of music we play at Deep See has developed symbiotically between the DJs and dancers: they take what we give them and thrive on it, inspiring us to push harder. WHY THE NAME DEEP SEE? The name obviously suggests a deep house sound or aesthetic, but the “see†part refers to the continuation of music, and of all things really. That to “see deeply†you have to look into the past and into the future, and the present is an amalgamation of all these things at any one point in time. Also, “seeing deep†implies we’re open to all things and sounds, and we like to look into things, literally: look into a new artist or new sound, label, aesthetic. And ultimately, that there is a thread of continuity in this event, based on mine and EMan’s combined musical histories. WHAT SONGS WOULD YOU CONSIDER DEEP SEE ANTHEMS? Great and difficult question. Just off the top of my head I would have to say “Falling Up†(Theo Parrish; Carl Craig remix); “Orchestra Hall†(Theo Parrish); “Tie Me Up†(Land Shark); “Follow Me†(Red Aistaire); “Loose Lips†(Bugz In the Attic); “American Poem†(Basement Boys); “Eye for an Eye†(Sirus); “Music†(Karizma); “Timbuktu†(J. Syndenham & D. Ferrer); “Notice Me†(Sandee); “Sweat On the Walls†(John Tejada); “Lamentations†(Carl Hancock Rux/Ron Trent); “Paris Collection†(DJ Pierre). YOU ALSO HAVE A RESIDENCY AT PACHA – TELL US ABOUT IT. Stimulus>Response started in Winter 2005 at the Sullivan Room. The first time we ever got together as the five-person team we have now is Thanksgiving Eve at Le Souk where Keith Blackstone and I were invited to play as guests at an event hosted/promoted by Silverbull (Gabe Mayorga) where the Urban Relief Project were residents. The vibe was so good that we decided to do it again. We did three events in 2005: Le Souk and two at Sullivan Room. The magic was in the air each time we did it: the music, the crowd, the dancing. We all came together, rocked out, and had a great time while doing it. We did Sol, Love, and finally were invited to Pacha. After a couple of events there, they invited us to become residents. We recently celebrated our first anniversary on December 22nd. Our guest was Tedd Patterson, and we had a great turnout in Pacha’s main floor. We play the basement room and the main floor on a rotational basis. We’ve supported DJs on the main floor like DJ Exacta and Wally Lopez (Pacha Ibiza resident) and Erick Morillo, Louie Vega, Oscar G and Ralph Falcon (Murk), and Junior Vasquez in the basement. HOW DID YOU COME UP WITH THE NAME STIMULUS RESPONSE? I believe Sean Cormac (member of Urban Relief Project) came up with this name for our first event together. WHAT IS YOUR MUSICAL POLICY THERE? Since we’re playing in a big club to a weekend crowd, we all tend to go the higher octane version of our intrinsic sounds when at Pacha. Each of us has a sound he/she is known for, and when we put it together, it covers many bases: progressive and vocal house, dark tribal, deep house, tech-house and techno, latin percussive house, funky fun house, electro-y big room house, bouncy Chicago house, disco, minimal tech, etc. Our musical policy is to burn the mother down! DESCRIBE THE CROWD? The crowd is very diverse, but it’s also very different from a mid-week crowd that prefers smaller venues or “underground†events. Most of the people have 9-5 or corporate jobs, so they come on weekends to let loose. They are early-20s to mid-30s. The people who come out just want to dance and party. They like to drink, flirt, hang out, and spend lots of money at the bar. They’re actually quite friendly, but sometimes due to appearance or some other factor big room clubbers and underground clubbers don’t always mix too well. However, we’re fortunate in that at S>R we have a core of regulars that know music and clubbing. They aren’t newbies and they’ve heard tons of DJs. They’re a good bunch of people. As in all big clubs, there are your annoying or attention-whoring types, but that’s New York for you. WHO ARE YOUR CO-DJS? Keith Blackstone and the Urban Relief Project, who are Sean Cormac and John Cacciatore. The host of the party is Silverbull. The five of us together make up the stimulus>response team. DESCRIBE, IN YOUR OPINION, THE CURRENT STATE OF HOUSE MUSIC? It’s always in transition. WHAT SOLUTIONS DO YOU PROPOSE TO TAP INTO AT CONNECT WITH THE HIP HOP AUDIENCE TO HELP THEM EMBRACE HOUSE MUSIC? I don’t know. Culturally, hiphop and house music are rather far apart. P. Diddy and Erick Morillo have tried to find some common ground, but that ends up boring (most) people into hiphop and pissing off (most) people into house. Rather than try to scoop up people from hiphop, I’d rather see house appeal to a new audience and create a new market, not feed off the dregs of another market. WHAT FORAYS, IF ANY, HAVE YOU MADE INTO REMIXES AND PRODUCTION? I really hate this question because the answer is “nothing…yet.†That “yet†is such an invisible ceiling in house music, but that’s how it is. Without production, it is difficult to move up in the ranks. While grassroots support and building a real fan base are a great foundation, having productions out seems essential to larger exposure. I am interested in productions and am certainly investigating the technology, while learning more by speaking to others who are already making music. I have also been approached by several producers to write and deliver lyrics for their productions. IF YOU WERE TO CHANGE ONE THING ABOUT NYC HOUSE MUSIC, WHAT WOULD IT BE AND WHY? This is such a huge question. My answer is informed by experiences as of late. NYC doesn’t “really†nurture its local talent. Some cities have local DJs playing the big nights and clubs and are loved and recognized by the local population. In NYC, most weekend nights in the larger clubs are dominated by touring DJs who may or may not turn it out but probably have a very strong PR machine behind them. Meanwhile, local DJs who know the local audience’s tastes are overlooked because they aren’t well known, don’t have productions, or are just “local guys.†When Tunnel and Twilo were hot, Junior Vasquez and Danny Tenaglia were local. Yes, they were international as well but they were based in NYC and our local heroes. Perhaps Louie is the only locally-based DJ of international stature that still has a residency in New York. So if I were to change one thing about house music in NYC, it would be for audiences and clubs to support the local DJs more. When people refer to “back in the day†and reference it as a great time in NYC clubbing, the hot parties were not “DJ so-and-so on tour in NYC,†it was parties given by the same DJs week in and week out. Going to one-offs is fine, but it’s ironic that local yet internationally-known DJs have to leave NYC to get paid what is their worth. Yet we import DJs to NYC all the time who may or may not be worth their fee. zDSC00738 WHAT CHALLENGES DO FEMALE DJ’S FACE? The guess the same ones as male DJs. Of course specific to female DJs is the (ever-rarer) ignoramus who says “you’re my favorite female DJ†(why not just DJ?). I think now there are enough female DJs that there are a new set of challenges. Youth, beauty, T&A, and a willingness to dress provocatively or spin half-naked are all commodities in the image-driven entertainment arena. DJing has also become a lot more about “entertainment†and less about culture, so while great artistic DJs like Francois K can rock rooms while sweating a bucket-full, women are expected to look hot behind the decks. This isn’t my opinion necessarily, but it’s what I see reflected by many other female DJs (especially the more well-known ones). Take for instance Portia Surreal, who is known for her topless approach to DJing. Same thing with Heavy Grinder, who built a huge following on MySpace, like the Tila Tequila of DJs. Female DJ conversations always seem to come back to “she’s hot!†whereas male DJs are rarely sex symbols, although I guess Miguel Migs and David Morales would be exceptions to that. Besides the pressure of marketing based on looks and image, another challenge that particularly annoys me is when men techs or other DJs speak as if I have no idea how to work a mixer and where inputs and outputs go. If I haven’t figured out how to run RCA cords to the right inputs by now, I might as well just go home. This is the “can you please program my VCR†situation blown up to a professional arena where some men seem to think that women do not have a technical cell in their brains and must be treated with kid gloves when explained how electronic equipment works. For what it’s worth, being that I’ve worked with dozens of DJs over the years, I have seen plenty of men be technically inept to a point I thought was impossible for professionally working DJs. WHATS YOUR APPROACH TO DEALING WITH DJ GROUPIES? I am generally nice to people and don’t assume they are flirting or groupies until they cross some invisible line in my mind where now I feel they have a particular agenda or point to pursue. But usually, I give someone a lot of rope before assuming they are a “groupie.†I’m nice, will talk a bit, but if you start monopolizing my time or try to speak to me when I’m mixing I will ignore you. I am pretty good at keeping my boundaries tight so I really don’t have to deal with too much unwelcome attention. People who are genuine fans may or may not begin to cross certain boundaries, but I feel able to modulate these relationships. I don’t think I’m one to really create “groupies†because either I will speak to you or not, so there is little room for in between, and I don’t encourage “groupie†behavior from people because I speak to everyone the same way. Some people say I’m stand off-ish and I suppose I can be, but if you approach me the right way I am very open to conversation and easy to speak to. WHAT ARE YOUR THOUGHTS ON THE DEMISE OF VINYL? I love the sound of vinyl but time marches on and technology enables certain things that vinyl does not. HAVING DJ’ED AT VARIOUS CLUBS, DESCRIBE FOR US THE PERFECT DJ BOOTH? The perfect DJ booth should be spacious and well-lighted, with flat surfaces for putting CD books and peripheral equipment, and either bins or other areas for putting records. There should be easily accessible outlets to plug peripherals into. The monitors should be hung in a way so as to not overpower the DJ, and hanging to the sides is preferable to right in front (and the monitors should be positioned in stereo as well, not just one monitor). There should be three turntables, three CDJs (Pioneer CDJ-1000 is industry standard), and filters or effects gear is optional. There should be a crossover that has full cancellation on all frequencies. I’m not a stickler for a sub-bass crossover, but high/mid/low is essential. The mixer is important, but more for sound quality and creative potential than slavish adherence to any particular brand or model. The booth should have excellent sightlines. There is nothing worse that a booth that creates some division between the crowd and the DJ. The best booth I have played in to date is Pacha’s main floor booth. The sightlines, spaciousness, sound, and equipment are all top notch. A FRIEND WHO I RECENTLY INTRODUCED TO HOUSE MUSIC COMMENTED “EVERYONE INTO HOUSE IS EITHER ECCENTRIC OR GAYâ€. CARE TO COMMENT? Eccentric, maybe. Gay, no. Comments like those are a dime a dozen. I tend to ignore them unless I’m interested in debating at the moment. WHAT DID ADAM GOLDSTONE AND WILLIE NINJA MEAN TO YOU? Adam Goldstone was an acquaintance. When I met him, he was a clubs editor of Time Out NY, and had great knowledge about clubs/music based in personal experience. His sense of style was impeccable, and he always seemed to be on the verge of cracking a very dry joke. I like the cerebral, satirical edge he brought to music and nightlife. Adam was a holdover from when clubbing was a lot more about performance art, and a lot less about looking good. Willie Ninja was an icon of a time in house music especially dear to me. The early 90s and the vogueing, street couture sassiness, and creativity of that era is something I miss. Self-expression has been replaced by consumerism. Willie was an amazing dancer, a gorgeous face, and someone who lived this thing literally until his death. His passing, like Adam’s, is sad because along with them go two vessels of history, two embodiments of a time when clubbing was very different from what it is now. WHY SHOULD PEOPLE COME TO CHECK OUT DJ LOLA IN THE MIX? I shouldn’t even answer this question but I will. I know there is a fair amount of controversy amongst certain segments of the house community in NYC about me, how I play, and who I know. But the reality is that Deep See was one of the first parties to be playing a tougher, more aggressive sound before it became trendy to do so. We were playing “Rej†before “Rej†was a hit, and playing things that could blow “Rej†out of the water before “Rej†even came out. As long as I’ve been playing there’s been people saying something about it. I’m sure this is what most DJs go through though, so again, I don’t think I’m that unusual. I’ve been called “a B-side queen,†been said to play “Tibetan gong music†or offer music for “intellectualizing, not dancing.†None and all of these comments are correct! So why should people come and check me out? Because I play how I want and what I want. There will always be someone to criticize something, one way or another. I can’t please everyone, but I’m happy to offer something that some enjoy very deeply. When you come to hear me play, you will hear things that you might not hear elsewhere, and I will present them in a way that is unique to me. The same thing could be said about hundreds of DJs though, so take it all with a grain of salt.

Are you serious with this question cause theres plenty out there. And what about djs whose albumes came out a month ago does that count too?

I want to see the performance thats for sure although im not really a fan of this song anymore, but i find myself singing the words every now and then go figure lol. Oh yeah and

man i really wished this party didnt have to end. Bella VIBE no party aside from these type of events can have this type of VIBE sadly. Yo sidoo was wondering where you were at man. Cool videos only hope to see more posted as days go by. Musically it was everything from the 70s to songs that just came out last week, and thats what makes a great party playing different era and styles of music.

looks like im gonna have to go upstairs and downstairs then.