The Women of House Music | 2015 CIMM Fest | The Vintage House Show Part 1

Introduction to Vintage House Show

0:00You're tuned in to the Vintage House Show, home to the original stories of the history of house music, as told by the legends, pioneers, and icons. Hosted by Kevin Mega McFall, Lori Branch, and Lauren Lowry.

0:19Hello everyone, can you hear me? Turn it up a little bit more. How's it? Can you hear it fine or does it need to go up a little more? It's perfect. Okay, hello everyone. Welcome to a SimFest event. Well, this is a great event that we're really happy to have in conjunction with SimFest.

SimFest Event

0:37If you're not familiar with SimFest, it's happening until Sunday. It stands for Chicago International Music and Movies. Actually, I'm sorry, can you hear me the program? Sorry, I didn't bring a bunch of programs with me. But this book is filled with events that you can attend until Sunday. If you want to pick up a program or stop by and buy tickets, the headquarters is located at 1704 North Milwaukee. It's directly across from the Chicago Public Library.

1:07So please stop by there. They have happy hour every day. Free food, free music, free all you can drink. So, from four to six every day. So please stop by the headquarters there. But, most accordingly, we're really excited to have this panel today.

Lauren Lowry Introduction

1:21So I will turn the microphone over to Lauren Lowry, who is the Chief Archivist for the Modern Dance Music Foundation. Thank you. Thank you for coming. We all thank you so much for attending In the Mix, the History of Chicago Student Young House DJs. I am Lauren Lowry. I am the Chief Archivist for the Modern Dance Music Research and our Browning Foundation. And we are the only repository in the United States solely dedicated to the preservation, study, and celebration of house and dance music.

1:56And we're really, we think this is an important field of study, and you're going to see more and more events from us over the coming years. We really want to thank a few people. SynFest, number one, Anna, Gary, and Joelle for allowing us to, for putting this together for us here at Chicago Distilling Company. Noelle, I want to thank her as well. And then, more importantly, we really want to thank DJ Lauren Branch. She is on our advisory board. She is also a top-of-the-line, world-class DJ.

2:27She's also a music historian, and she co-curated this with us. And so this is solely responsible of Lauren Branch. Let me just give this respect.

2:41So Charles Matlock and I really, who is the director, executive director of the foundation,

Women in House Music

2:45thought it critical that we know more about women's experiences in the housing movement. And so we recognize that generally folks need examples. They learn by role model. And what we recognize is that these women persevered without sort of women role models to a certain degree. The music was fresh. It was new. It was a new genre of music. And they were making things happen on their own, using their own experiences. But learning from the best in the business, the best in the industry. To understand the future of house music culture, we must learn from the past.

3:19It is a pleasure for Charles Nat to illuminate the work of these special group of women. Please welcome one of the co-moderators today, executive director of the Dance Music Foundation, Charles Natlock.

3:35Hi. As Lauren said, we'd really like to thank you for being here today. This is a really, really relevant topic. As Lauren said, Laurie and another couple that are on their way, they were really the first. There really wasn't anybody before them, so they truly kicked down doors, and that's huge. I was thinking as I was getting ready today, you're kind of like the Althea Gibson of DJing, you know? And that's a big deal.

4:06So, yeah, before we waste any more time, I'd like to hand it over to Laurie and introduce my co-moderator for this panel. And then have her introduce, well, First Lady Chris Wray, formerly Chrissy Henderson, also an early female DJ.

4:29And Terry Chris Wray, I do not mean to, you know, you're down there at the end of the panel. How about I just use this for a time-to-time? Yeah, thank you so much. Can you hear me? Yeah, you can hear me, right? Hello? How about I just use this for a time-to-time? Okay. So, thanks again. I wanted to just sort of get us started with a flavor of the time.

Early Days of House Music

4:47We're really very specifically focused on the years 1980, 1984, and I couldn't even start this conversation without acknowledging DJ Sharron Webb, who's in the back, and she was, I just wanted to enjoy that for me. Welcome to any of us up here. You know, she was more kind of in a stepper scene in R&B flavor, but certainly kicked it off in the dance world as well. So, just wanted to pay homage to my sister there, and, you know, next time we're going to be happy up here, okay?

5:18All right. So, I just want to read something that, you know, this was a period in Chicago, 1980 to 1984, where disco, the disco sound of the late 70s began to integrate punk, early rap music, European electronica, and other sounds for an era that has birthed what we commonly call house music. Now, this sound championed largely by heroes, such as the legendary Frankie Knuckles or Ron Hardy, ushered in a wave of young new DJs across Chicago, such as the chosen few, Wayne Williams, Alan King,

5:51you know, those guys, Warren McAllister, Ben Perez, Andre Hatcher, Farley Keith, and so many others, who went on to even become bigger and more important producing music, house music, across the world, such as Chip B and Steve Hurley, Vince Lawrence, et cetera, and my brother, Joe Smoove. That's not my sister coming here. Yeah, that's right. So, sometimes in the spotlight, we're often more in the shadows, you know, were the women who were those pioneers in early houses.

6:21So, we're really blessed today to have a few of those on the panel, as well as in the audience, and we really do want to just have an informal discussion, you know. We certainly want to hear about, you know, what it was like back then when we were all like, what, three years old or four? I was six. You know, we were crawling and spinning. But, you know, what it was like. It was a really challenging time, as you guys remember. Who remembers who the president was back then? That's right. Yes.

6:51You loved him, I know that. I didn't know that. And Jim McCarrie did not know that. Yeah. But anyway, there were some challenging times, and we all persevered in spite of that, and I think maybe because of it. You know, maybe because of what was happening then. The backlash, the LGBT backlash, the disco backlash, you know. That was all kind of culminating, you know, into this era that we call dance and house music, where disco wasn't dead. You know, it reared its head in a different kind of way, and we're going to talk a little bit about that.

7:23So I want to just introduce, I want to allow First Lady and Terry Bristol to introduce themselves, and maybe just a little bit about when you started, and kind of, you know, what the... Yes, sir. Okay. Before you do that, can you please give your bio? And Lauren specifically instructed me, do not let Lori skip over her own while she's introducing others.

Panelist Introductions

7:43And so, yes, yes, we've fallen in that pothole already, so... So, I'll give a short one, because files are so boring, aren't they? Thanks, Alicia. Right, alright. So, anyway, I'm from Chicago, grew up in Inglewood in Morgan Park. That's my little baby brother, who did a car branch. And I started spinning when I was 17, right out of high school, working in a lot of the clubs, like Sowers and Loft. Give a year around this. Give a year around 1980. Um, 81 is when I kind of really busted out and started doing battles and those kinds of things.

8:17But I worked with a little club called Vertigo. Back then, you know, you had to be part of clique. Like the chosen few, they have remained at clique all these years. And, you know, Vertigo should have stayed together. Who knows what happened? Right, but anyways, I was the DJ, and it was a unique idea, because there really weren't many women doing it. And, uh, they had hired the chosen few to spin all of their parties. We were 17-year-old kids, renting out spaces. You know, you know how to do it back then. Uh, and one night, they didn't show up. Wayne didn't show up. They were freaked out. They were like, this will never happen again, because we're getting our own DJ,

8:48and Lori, you're going to do it. And so, my friends brought me some turntables, and I met Jose Gomez, one of my colleagues and peers and good friends, and he taught me how to spin. And so, I worked as a resident DJ in a few clubs over the years, and then went on to do independent, some independent film, music coordination, and, you know, sort of has stayed in it. You know, I haven't risen to the ranks that some of my colleagues have, you know, across the field, but it has always been a passion and an art, and an expression of my art, and something that I was good at and that I love to do

9:21and continue to love to do. So, that's not my day job. I have a much more boring life outside of that, but I'll stop it there. And I'm going to let First Lady introduce herself. My name's First Lady. That's what my name is now. When I started, um, the fall of 1980 was the first time I ever put a needle on the record. My name was Chrissy Henderson, which then became Chrissy Hot Mix Henderson. Somebody just started calling me that, so I went with it. Um, the first time that I had ever heard of another female DJ was Lori Branch.

9:58And I was trying to go and see where she was, but I was 13, just made 14, and could not get into the place where she was because she had to be 18. So, we sat outside and listened. The problem was I didn't know if it was her or a guy spinning because I couldn't see. But I was impressed to know that I was not by myself because it was around the same time. Um, later on, I played high school parties, and then we had, um, a little battle Wayne Williams gave,

10:28which Lori did not show up, thank God. Yeah, the second one. Um, and they formed a group called the Fantastic Four. And it was myself, Kenya Lenore, who is the little sister of Ricky Lenore. Um, Berlando Drake, who is the cousin of my husband, whose name is DJ Hugo. Um, and her name is Bird. Um, and then Celeste Alexander, who's a good friend of mine. And so we packed clubs by ourselves.

10:58Well, not clubs, but like Sours. Um, we did Mendo. We did the, the, uh, the playground. And the most crazy thing is that guys would stand there and go, that's a girl. And we would all look down our shirts and go, yes, we're women. What about it? So, um, I think the amazing thing was that it was four females. We never had a guy opening. We always rotated, and the crowd supported us. Um, from there, I went off on my own. I had one residency, and that was at La Mirage opening for Little Louis,

11:29which was a lot of fun. Um, and then from there, I just kind of, you know, I worked with Farley and some other people. And then I got, I challenged Farley, and I'll tell you about that later, but I told him, my second challenge to him was, how come the Master Mix 6, because he was on GCI at the time, doesn't have a female on the team? You have not because you ask not. And he said, okay, make a tape. It was on the reel back then. I said, huh? He said, make a tape. I said, okay. I did, and I went on on Thursday.

12:00At the same time, Julian Perez heard that Farley was going to do this and went and got Xavier Gold, but she went on on Friday, which made me first. Which, you know what I mean? It was a big thing back then. Um, so after that, I got bit by the radio bug, and then that's where the radio career started. And so now I'll pass it to my friend Monzel, who we used to walk to school together when we were in a grade. Oh, hello everyone. Um, sorry for being late.

12:31Um, I'm from Tampa, and I kind of forgot what traffic is like in Chicago. Um, but now I remember. Thank you. So, um, again, I'm Monzel, and I'm just pleased to be here, um, and part of this event, so thanks for inviting me. Um, my background, um, I was about 16, 17, and hanging out around with a few DJs, Andre Hatchett, Keith Fawkes, and others at the time, and I was very quietly learning from them.

13:01Um, and a point came where there was a battle, a battle of female DJs, and I watched them prepare a couple of girls who had no skills at the time, so they were sort of preparing them, saying, here's the record, play it now, start it here, let it go, et cetera. Um, and I was learning and practicing at home, but I was very quiet, and I never told them. And so that's a secret that I would never share with anyone. And so, over the years, um, I started to kind of get out there,

13:32work at different bars and clubs as I got older enough, old enough to be able to enter the bars and, with a fake ID. Um, and so some of the guys, friends, that I would hang around, they would want to learn, and so I was doing some teaching on the side, but quietly. I don't think they wanted people to know that a girl was teaching them. Yeah. And so a lot of the time after that,

14:02I took what I learned from basically dancing in the club. So I used to go to Warehouse and listen to Frankie. And so that heavily influenced my music, what I did. And then I moved north, and I took those skills into bars. So I started working in clubs. Uh, for many years, I, uh, DJ'd house parties, um, weddings, those kinds of things. Um, and then I went into a couple of clubs, um, the north side and primarily women's clubs.

14:32So I did a couple of years, uh, there. I don't know how much background we're doing more than that. Yeah. Oh, okay. This is good. Yeah. So I remember, um, I worked at IBCK's, which was a famous women's bar, um, on the north side, a small place. And when one of their long-term DJs retired, um, I, my partner at the time, who I talked to DJ, um, was another girl who's not here today, uh, DJ Gloria. Yeah, so I taught her on the spins, secretly.

15:03And, um, so I think she's still out there somewhere, but not in touch. But, um, so I did that a few years. Not very long, because it closed shortly after. And then I went into, um, Paris Dance. So they had a couple of DJs there, and they left and moved on. And so I was, I think, more instrumental there. And, um, we did salsa nights. So it's salsa merengue. And so I was fusing that music with house music sets

15:33and figuring out how to blend that and how to cater to the audience and to please, I think, a very discerning crowd. I would say the most difficult crowd, in my experience, is, um, the women, girls' crowd. Yeah, especially white girls. And I'm sorry. And drinking in the house music. But, um, so I think, in part, through the music, I was able to add to the integration of the clientele there. And then men started coming and dancing house music, dancing salsa.

16:04Um, so I think it became integrated in that way. Um, so I like to think of the, the, the ability, for instance, of house music to really pave the way, open up spaces, and to cut across some borders. Um, it's, it does that for me. I've been able to, um, you know, blend it with other forms of music. And I think, um, people are somewhat open to that. Um, not, um, not everyone, but, yeah.

16:37House music on high level.

16:44Hi, I'm Terry Bristle. And I'd also like to thank you guys for having me. I kind of started the opposite direction. I started in a lesbian bar back in 1982, and then evolved into larger clubs. Um, my mentor was Mark Stevens, who was an incredible DJ here in Chicago. His forte was, um, programming. He was the best programmer, to this day, I've ever heard. And that's really what he taught me.

17:15I, technically, I was able to do everything. It was just, you know, God-given talent, I believe, and gift, and something that I still love. And, but, um, he taught me how to program. So, I started actually DJing at a small club in Rosemont. And then, one of my, well, my now still best friend, DJ Cycle Bitch, took me to Medusa's for the first time. And I had never experienced anything like it. I mean, it was the craziest, wildest, most fun place I'd ever been.

17:49And we got there around midnight and danced until noon the next day. Um, and that's, and I was just hooked from that point on. I said, I want to do that. That's what I want to do. I want to make people feel this. So, I ended up meeting the owner of the club. I met the DJ, I met Mark Stevens, and through him I met a lot of other DJs. And he took me under his weight and taught me about, he said, the most important thing as a DJ that you can be or do is have integrity.

18:21Play what you believe in. Don't follow the trends. Really, play what you believe. So, that's what I did. So, I started playing at Medusa's, and then from then I went to Cairo, which is on the north side. I was a musical director there. And their whole thing was they wanted 50s, 60s, 70s, 80s, and 90s dance music, all mixed with a beat. They wanted it all beat mixed.

18:51So, I got together with another DJ friend of mine, Mark Picciotti, and I said, you know, we're going to do this. We're going to figure out how to do this. So, we did. And it was wildly successful. People loved it. So, then from there I went to Smart Bar and worked there for a while. And then I was recruited to be the musical director at Crowbar. I'm sorry, before that I was a Thursday night resident at Shelter, then Crowbar. And we did a great party on Saturday night called Interactive Dance Party.

19:25And then Sunday night was Glee Club, which was a phenomenally successful gay night. Through all that, I met so many wonderful people. I started producing and remixing, traveling the world. I remixed Gloria Estefan, Madonna, Katie Lang, went to Switzerland, probably been to Switzerland like 20 times, Poland, you know, just all this. And the one thing that I got out of all this was the most common thing, no matter what language people spoke or anything, was the music.

20:02They just, you know, they, here you are in another country where you know they don't speak English, but they're on the dance floor just singing, you know, like making up their own words or whatever. The music is just moving them and making them, you know, abandon themselves to the joy of it. And for me, that's really what it's all about is the joy of music and, you know, and house music above everything else. I love house music. So, I mean, that's kind of my, my background.

20:42So, that's awesome.

Overcoming Expectations and Challenges

20:43We're going to have, we're going to ask our panelists a few questions and then we certainly would like to just open it up for dialogue. I'm sure many of you would like to pick their brains a bit and hear a bit more about the experience. So, Charles, you want to start and, or no, I'll start since you're not ready. There's a quick story that I do want to tell. And it is kind of illustrative of a bigger picture and just everybody's ability. There was this guy, and this is years ago, and this is not a, this is not a Chicago story, and it's not a current story.

21:19But it's a story that just kind of paints a picture of who's competent to do whatever, right? So, there was this guy in New York named Walter Gibbons. And any of the early DJs know, you would, there were very few remixers. So, you would either see Larry Levin's name kind of a little bit later on, early on Walter Gibbons, and then Tom Moulton. Walter Gibbons and Tom Moulton were, you know, they were just the guys. So, anyway, as a remixer, everybody gave him credit. But as a DJ, they were like, you're some skinny white dude.

21:49And everybody who's DJing is like these, these, these black folks that, you know, I don't know. It's just, it just got known that in New York City, if you weren't black, you weren't really one of those serious core people as far as the one who was DJing and delivering music as opposed to the one in the studio remixing. So, there was a black DJ named, he was the one who first actually gave Frankie his first start, T. Scott. T. Scott was playing Better Days. And, so everybody's, you know, expecting him to play.

22:19And he asked Walter to play for him a couple times. And so, Walter said, sure. So, he gets up there and nobody's dancing. And it was just because it was this white guy and they were used to singing black guy. And so, T asked him to, asked him back and he was like, no, dude, I'm not getting into that. What are you kidding? No, no. I saw the reception the first time. So, he talked him into it and he said, fine, only if I can put up like a curtain. So, he did. You know, and people come in there, you know, he did this from early on. So, nobody knew who was behind the curtain.

22:50He could have been the Wizard of Oz. You know, so, people are dancing and Walter, he was this guy who was a serious music head. So, he was killing it. And, about one, two in the morning, he pulls the curtain down and everybody's like, I don't believe this guy who we booed off the, you know, out of the DJ booth a month or so back is the one who's been delivering this music and they just loved it. And, it just was a groundbreaking kind of barrier pushing moment.

23:20And, the reason I told this story is we shouldn't have to have it like that, you know. We should completely open our minds and we should dance as if our eyes are closed because it doesn't really matter who's up there delivering it to you. It all matters about whether it moves your feet, it moves your body. That's what's relevant. Not what gender we are, what race we are, age. Any of these things that people view as reasons to say no when all of those are, none of those are good reasons to say no or to have your desire to dance influenced in any way.

23:56So, I just want to share that real quick. And, I'll piggyback on that and say, you know, I definitely had that experience many times where I'm setting stuff up and the people who own the club or whatever are like, okay, where's the DJ? Where's she at? Where's he at? You know, I'm like, well, it's me. Oh, okay. And, it's kind of this look of like, oh my God, you know. All the, you know, they didn't know what to expect. And, it happened probably nine times out of ten. So, it was every single time.

24:26And, you know, which made residencies a lot more attractive to me. Like, let me just get a Saturday night spot at CK's or, you know, at the shelter or wherever. And, I didn't spend in the shelter. You spent in the shelter. But, a red dog, whatever. You know, that made it because then you became part of the family. But, you know, doing those clubs was often a, you know, it's a hot mess when you get there and people, you know, have these expectations and they're kind of like, yeah, and they're going to watch you, watch your fingers, you know, watch your face. And, Stanton, you can relate to this and they're waiting for you to fuck up.

24:59So, you can, you know, they can be justified in feeling what they feel. So, I just, I wonder how, you know, how that played out in your lives. It's, you know, I would say to this day, that kind of still happens. Anybody want to share your experience? I would say, like I said before, it was more about the amazement for guys. I never really got that from women.

25:29I mainly got it from guys and I don't know if it's just an ego thing or if it was a thing that this was something that women aren't supposed to do. And, if so, I never got that memo. So, nobody told me I wasn't supposed to do it, so I did it. But, it was what, in the movie, The Waterboy, what he called tackling fuel. So, that's what I used it as. Oh, you're going to watch me? Okay. Now, I'm going to do my thing.

26:00But, I was younger then, so my mindset was a little bit different. And, I only had an hour because it was four of us. But, because it was four of us, it made us feel stronger because we had each other's back. We could see what the first person who came out the gate was going to get and then we knew. But, by the time it got to the third DJ, whoever was in the third liner, the guys were dancing. You know, everybody was dancing. And, so, but it happened every time. And, it's the same guys that were at the party on Friday, that came to the party on Saturday, that would still stand there like this.

26:36And, eventually, you start to ignore them. Yeah. And, that's all you can do. And, helpfully, you know, when you do win them over, you know, then they become your biggest fans and your biggest promoters. And, I think that's what it was. I think that's what it was. It's just, you know, the newity of it was to just look and go, wow. But, it was a bit like, you know, that Ginger Rogers thing. You know, you did have to, like, tap dance backwards. Oh, yeah. Oh, yeah. It didn't have to be ten times better than anybody else was spending that night or else you were going to get right over to Coles.

27:07I think that one of the, and I might be jumping ahead on your questions, but one of the challenges for me was when I separated from the Fantastic Four when we disbanded. And, I started playing a lot with Farley at the, what was then, the candy store. And, they had a, in the DJ booth, the tables were on a chain, and so they could swing, kind of. It was really cool. Kind of annoying when you're playing, but it was kind of cool.

27:38And, I'm height challenged. There was a, two, like, two bricks, I guess, and a board across, that went across. So, I would be standing on the board, and I'm playing. And, the table, Farley would come by, push the thing, and it'd be swinging, and I'm trying to mix at the same time. And, it, it made me, it made me stronger. He would sometimes come by, and he would do it to guys, so I didn't feel bad. And, he would step on the edge of the, of the board.

28:10And, I'd go like that. Yeah. And, you're trying to, sometimes he would come past, and you'd go over here to get your record, and you'd turn back around, because you got this queued up, and it's on 45, but it's supposed to be on 33. And, you go to start it, and it's not like now with the CD player, where you can just go back to it. You got to go back, you got to keep it up, you got to make sure it's right. Or, he'd move your pitch in the middle of, you know, just. But, at the end of the day, it made his and our friendship stronger, but it also made me stronger and more aware that these things can happen.

28:45So, and I don't know that he did it that much to guys, but I know he did it to me as often as possible. He never did it to me, so I'm happy. Yeah, he did it to me all the time. That's what Valerie was saying about the expectations. When I did remote parties, I worked with a buddy, Marcel, and he would bring all the equipment and set it up to speakers and everything. And then he would lean, and I would be the one that would be like, where's the DJ going? Like, I'm the DJ.

29:15But, and then we kind of set them up because he was doing the labor, right? The work bringing the equipment in. Unless they hired me directly. So they hired me because they had heard me somewhere else. Then they knew. But then all that changed when I went to Women's Bar. It was really a surprise because I had other groundbreakers, like you mentioned, Psychovich, and Kennedy, and Terry, and others. And so I didn't get those kinds of stairs as much. Yeah, but out in the public, the expectation was he was the guy.

29:45Not only was he going to do the physical labor, but he was going to do the creative labor. Or not. And you would just help. You would support. Yeah, I guess I would help. You would a girlfriend. Yeah, you would a girlfriend. Right. You would support. Yeah. Jared? Well, one time I was DJing, and they couldn't, the people couldn't see me. I was real high up, and the booth was real high up. So I came down to get something to drink, and so the guy said, I want to make a request.

30:15Where's the DJ? And I said, I'm the DJ. He's like, no, you're not. Yes, I am. I'm the DJ. He's like, so then he made his request. I went up. I played the song for him, and then I went back down to use the restroom, and he taps me on the shoulder. He's like, you know, you're really good, and you're a girl. He's like, I just can't believe it. I can't get over it. I can't. But so, you know, I taught DJ Cycle Rich how to spin.

30:46So we decided that we were going to take the whole girl thing to a whole other level. We were so tired of people's, you know, guys are great DJs, girls, whatever. So we put together this little show called our six turntable show. We each would spin on three tables. So we had six tables going at the same time. I would do all the tricks, all this scratching and all that, and she would play three tracks. Sometimes I'd play one over her three, all at the same time, and we would incorporate live drummers.

31:18Sometimes we would incorporate a singer, we incorporated a trumpet player, dancers, all this stuff. And we were like, see, we know what we're doing. We can do it. We're good at it. People would just stand there, guys especially, could not believe that we could throw down like that. So we're like, it doesn't matter if you're male or female. As long as you're putting on a good show and people are feeling it, losing their mind, that's what's important. You know, that's really what's important. Hey, thank you. Thank you, Terry. And we are joined by Celeste Alexander.

31:50We're going to give our hand for Kit Hill. Thank you. So I'd love to get settled whenever we would. We'll give you some mic time. I just have a couple more questions, and I think I'd love to have a discussion. You guys have been very patient, and I'm sure there are some questions out there. But Robert Ford, anybody remember Robert Ford? I'm going to give you a hand. He was a wonderful, brilliant man. He created a magazine. He was an artist. He was the guy that I taught to DJ. But he wasn't secretly. He was pretty cool. And he passed away some years ago from HIV.

32:25And HIV was one of those things that impacted many of us. It was around the same time that we heard of GRID and this disease that was really primarily affecting young men and drug users. And it had such a profound effect on my life. It actually kind of drove me even more into the music because it was a place where I found comfort and where I found solace and where a lot of my friends who were actively sick at the time would be together.

32:55And that was, you know, we were present in those places. We were present with each other. And I'm wondering if that was, if that had some sort of that or, you know, just some of the political winds of the day influence either adversely or help facilitate what you were doing in the clubs that you work. And anybody can take that. Well, the way I got my start as a producer was my roommate at the time, his name was Kerry, was head AIDS.

33:27He was a musician and the one thing he wanted to do before he died was to make a song, to produce a song, have a record out. So I got together with Mark Picciotti, my friend and fellow DJ, and we decided we were going to do it. Thanks for listening to the Vintage House Show podcast. Please subscribe and share and check us out live, WNUR 89.3 FM, Wednesdays at 10 o'clock.