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INTERVIEW WITH BOWLS (The Boom Bap / Funky Good Time)
Bowls is no stranger to record stores. When we both lived in the same city, I felt as if I was perpetually in a race against time. Speeding from shop to shop, stretching to snatch at records before he got his hands on them. I would often see him later to compare finds, only to hear that he had already seen the records I bought, silently passing over them, tallying their worth, and moving on to other things. That is Bowls in a nut shell, quality over quantity. He isn’t looking to own every good record (where would he put them all?), only the ones that he loves (believe me those are plenty of enough). It takes a certain temperament to move through life this way. Knowing what you want before you find it is not an easy thing, and continuing to seek it requires a commitment and patience that few still have. Bowls is willing to wait, silently flipping through dusty stacks of records, shifting boxes to reach in to deep nooks and crannies…searching
-THE BAG MESSENGER
THE BAG MESSENGER: How did you first get involved with DJing?
BOWLS: Well I started listening to hip-hop back when I was in 5th grade (1995), and I decided that I wanted be a DJ in ’96 when I heard OutKast’s “Wheelz of Steel.” I was living in Paducah, KY at the time and I had never seen or talked to anyone who had DJ equipment, but in 1999 I finally got a belt-drive turntable and started buying records. By late 2000 I had a cheap Numark “DJ-in-a-box” setup, which later gave way to a pair of Technics 1200s around 2002. That was when things got serious for me, because I knew those decks were built for performance. I started out spinning parties in high school, but I didn’t play in a club setting until I moved to Nashville in 2004.
THE BAG MESSENGER: When did you first get into collecting records? What was shopping for records like in Kentucky?
BOWLS: When I first started looking for records in ’99, I had no real point of reference. I knew I wanted to be a “hip-hop DJ” or whatever, so I started ordering a bunch of records out of a distributor’s catalog at CD Warehouse. Put a check next to the 12“s and LPs that I wanted, then pick them up the next week. At that time, I just assumed I should be buying doubles of all the “underground” hip-hop 12“s, scratching over instrumentals, and making mixtapes. No one was there in Paducah to school me on the breaks, represses vs. originals, spots to dig, etc. Luckily, it was just a matter of time before the whole concept of SAMPLING was fully realized. I loved the fact that some of those original records could actually be sitting in an antique shop right down the road. Since that revelation, I’ve spent thousands and thousands of hours sifting through old vinyl. I went digging in St. Louis a lot from ’00-‘04, and then my collection just exploded after I moved to Nashville for college.
THE BAG MESSENGER: What kinds of things are you looking for these days?
BOWLS: Recently I’ve been digging a lot of prog and psych-rock. I’ve gotta be in the mood for it, but there’s something satisfying about hearing a nice, mellow funk-groove float in after three straight minutes of noise. I bought a ton of jazz records last summer, and I’m always looking for good hip-hop 12“s. Honestly, I’ll give pretty much anything a listen these days…the days of judging an LP by the cover are long gone!
THE BAG MESSENGER: You’re into a lot of sample source stuff. What records have found through seeking a sample that you fell in love with?
BOWLS: I’ve found countless dope records from knowing that Pete Rock/Premier/Madlib sampled them, but I probably get the most satisfaction out of finding artists with solid catalogs that I can dig into. If it weren’t for hip-hop/crate-digging, I might still be under the impression that Kool & The Gang was just some 80’s group that made “Ladies Night.” Its something I really don’t take for granted, because my parents weren’t into music at all. Can you imagine living life without knowing that Kool & The Gang made a song called “Music Is The Message?” Thinking that James Brown was just that dude who sang “I Feel Good?” I’ll be in debt to hip-hop for the rest of my life.
THE BAG MESSENGER: Any interesting digging stories? Favorite finds?
BOWLS: On a family vacation to Florida back in the early 2000’s, I looked through the phone book for record stores. My mom dropped me off at this one place that had full discographies of every “major” group/artist you could think of. Like 10 copies of each release. I thought that was pretty cool, and then the owner said, “Hey, have you looked around downstairs?” Downstairs was over 150,000 UNSORTED 12” singles. One of the first records I pulled out was the Pete Rock & CL Smooth “Straighten It Out” promo, which of course has the elusive “Vibes Mix” of “T.R.O.Y.” on the b-side. That made the hundreds of Miami Sound Machine 12” sightings a little more bearable. I found quite a few good records there.
THE BAG MESSENGER: Where are some of your favorite places to go? Favorite places to dig?
BOWLS: St. Louis has been a favorite city of mine for years now. Lots of music history and lots of well-stocked stores. Of course I hit my spots in Nashville all the time. I’ve made a couple trips to Japan with my younger brother, and that’s always a great way to spend tons of money on records.
THE BAG MESSENGER: You play only vinyl. How do you feel about Serato?
BOWLS: Serato is great, and I definitely intend to get it at some point. Initially, I agreed with DJ Premier when he said that DJs need to “earn the right” to use Serato by building up a good record collection, but that really doesn’t make sense for aspiring DJs in 2010 and beyond. New music isn’t being pressed up on wax as frequently, some DJs grow up in towns where digging spots are scarce (I was one of them), and lots of people just flat-out don’t want to spend the money. With that said, I consider myself someone who literally pays to play the game. I love it that much. I talk to a lot of DJs who started performing in the last five years or so, and its safe to say that I probably spent more money on vinyl this past summer than they have in the last three years combined. Its a strange feeling. I know all the OGs and real diggers still buy records in addition to using Serato, but the love for original vinyl pressings, and just the act of digging in general, seems to have really diminished with the new wave of DJs. I came to terms with that a while ago, and I’m fine with it. Being a good DJ involves skills and great taste these days, not a dope record collection. That’s just the way it is.
THE BAG MESSENGER: Whats the key to packing for a gig?
BOWLS: Considering I still use strictly vinyl, a lot of my preparation involves picking out which 45s I want to bring. If I’m spinning for just an hour or two, I don’t want to lug more than one crate of LPs/12“s to the party. That box of 45s lightens the load while still packing a punch, and I always make sure I have a good balance of genres between the two formats. Besides remembering my headphones and needles, efficient record selection is my main thing. Yes, I know that Serato users never, ever have that problem haha.
THE BAG MESSENGER: When did you first meet Count Bass D? Can you describe getting to know him?
BOWLS: I met Count at his BEGBORROWSTEEL album release party here in Nashville. A couple months later, his wife shot me an email and asked if I’d be willing to intern for them. At the time I was studying the music business at Belmont University, so I definitely took that opportunity. I watched as he released Act Your Waist Size on Fat Beats Records, saw how he and his wife communicated with the label, met his kids, went with him to a show or two, assisted with whatever they needed, and finally helped him break down his studio before they moved to Memphis. He’s just a cool dude all-around and I gained a whole new appreciation for his music after getting a feel for his lifestyle. (Let it be known that he once woke me up at 7:15 AM to take him to the airport. After a trip to the bank, we got there at 7:42…“right on time” for the 7:50 flight. When I asked him where he was headed, he told me that MF DOOM called him earlier that morning. He needed Count for his show in NYC that night.)
THE BAG MESSENGER: Every DJ has a horror story or two….what is the worst thing to happen at a gig?
BOWLS: DJing outdoors is always interesting when you spin vinyl, especially LPs. I was playing some dance classics at a rooftop party one night, only to have the wind pick up my needle and drop it on a slow jam. Oh and I once had a guy ask me to play Justin Timberlake….while I was playing Justin Timberlake (apparently this happens more than you’d think). After reading about drunk club patrons vomiting on turntables and mixers, I feel like I’ve been pretty lucky thus far.
THE BAG MESSENGER: What can we be looking for in the future?
BOWLS: I’m trying to put out my Ahmad Jamal mix (Bowls Plays Jamal) sometime early next year, along with the follow-up to a boogie/funk mix I did back in 2009. Besides that, I’m just looking forward to playing more gigs and featuring more Nashville DJs on the Music City Living podcast. Oh, and buying more records. You can bet on that!
Tucker and Bloom Interview With The Bag Stage Report
Here is a cool little interview we did with German bag design magazine The Bag Stage Report about the creation of Tucker and Bloom and our roots.
-THE BAG MESSENGER
What is the name of the label and what is the idea behind the name?
Tucker & Bloom: We are a family owned company, with deep roots in design, and a dedication to old world craftsmanship. The name comes from the combination of the two sides of our family.
The Tucker’s were British relatives that settled in Northern New England as ship builders, and whalers in the 1800’s. The Bloom’s were Eastern European craftsmen that moved to America after the First World War and became involved in the New York garment industry. The brand strives to meld these two histories through clean functional design and use of rugged, durable materials.
Where are you from?
The company was founded in 1978 in Boston Mass as Bloom Fine Leather Accesories where it found success in its first line of handbags. It than relocated to Brooklyn NY and is now based in beautiful Nashville TN.
What is the inspiration behind your collection and what kind of materials do you use?
Our bags emphasize organization, and individuality through the use of functional design. We were inspired by a combination of things when designing the collections. The function of the bags came first. We also felt that designing them for domestic manufacturing and having the bags fit into specific lifestyles were important. We currently offer three lifestyle lines Work, Transitions and Leisure. Each line has a particular feel, use and purpose. The materials that are used in the collections are 1980 denier Ballistic Nylon, Heavy Cotton Canvas, Neoprene and Leather (Some
vegetable tanned and some chrome tanned). We have also used some small rubber micro-injection branding patches, as well as satin nickel side release buckles with our logo laser engraved on them.
Since when do you run your own collection?
The Tucker & Bloom bag collections have been available since 2007.
How or why did you start designing bags?
I started designing bags in the 70’s and was lucky enough to find a mentor in Kosta Spyrololous(a small handbag manufacturer in Boston). I became fascinated with European classical handbag construction, though in my early years the handbags were far from classical construction. After moving to New York I worked side by side with aging holocaust survivors who passed on knowledge learned from many years in the business. I’m not exactly sure why I have found bag design so endlessly interesting but I continue to learn everyday. What more could a person hope for in work; passion for the product and the opportunity to learn something new everyday.
Do you exhibit on trade fairs?
It is our desire to make our company a sustainable US manufactured product, with our main distribution direct to consumer and very little wholesale. Although, we are looking at doing some co-branding b2b, and will be offering our Transitions line through the wholesale channel in the spring of 2010.
DJ Marsellus Wallace Interview
Some people pick up a hobby and barely scratch the surface. Others dive in head first and sink into the murky waters below. This degree of dedication varies depending on the complexity of the culture. When it comes to collecting records, one thing is certain. The pond is deep. If you do decide to jump in, and start really fishing around, eventually you will see DJ Marsellus Wallace in full deep sea snorkel gear, unearthing seldom seen treasures.
- THE BAG MESSENGER
MARSELLUS WALLACE: I got into collecting records about 6 years ago, pretty much when I started Djing. I just loved the deep sound that vinyl had to offer. Man, I slept for so long. I started out collecting 1st run pressing hip hop LP’s. That was the juice for me man. That and scratch records. I still collect all of that, but my tastes have changed quite a bit.
THE BAG MESSENGER: What kinds of things are you looking for these days?
MARSELLUS WALLACE: These days I am into sound library records. Whether its labels such as Peer, Themes, Music De Wolfe, Telemusic, Chappell…I don’t care. I gotta have it all! I am a huge fan of Italian and French soundtracks as well. Pretty much anything funky with an open drum break makes me happy though.
THE BAG MESSENGER: How did you discover your love for original sound track recordings?
MARSELLUS WALLACE: When I first heard Dj Shadow’s recordings…WOW! I was mind blown! I was so impressed with how he interpreted himself through rare grooves and filthy drum breaks. It wasn’t until way later that I started understanding his message between the lines. Then…I heard the Dusty Finger compilations. I must say that Danny Dan the Beat Man is 100% solely responsible for my addiction to European funk and 70’s television themes.
THE BAG MESSENGER: Any interesting digging stories?
MARSELLUS WALLACE: My closest loved ones tried to have an intervention with me about my vinyl addiction. Its serious I suppose
THE BAG MESSENGER: Favorite finds?
MARSELLUS WALLACE: Manzel – Midnight Theme (Test Pressing).
THE BAG MESSENGER: How deep in the crates are you?
MARSELLUS WALLACE: I don’t know, the deeper I go I realize that I still have got a lot to go. As spoken by the true master, I am a student of this. It’s quality…not quantity right? At the rate things are going, I’ll be out of the house in no time lol.
THE BAG MESSENGER: Whats the story with these soundtrack recordings?
MARSELLUS WALLACE: A lot about the history of library recordings is unknown. Composers/musicians used different aliases. Even in the early 70’s there was this sort of “big brother” group that used to enforce the rights of the artists. The artists could care less about the $$$, they just enjoyed doing sessions. Obviously somebody was getting paid off of the so-called “equal rights” of the musicians. So many were forced to use different names and aliases. They would even record secret underground sessions. How dope is that? Too have such a passion for music and family, that you are willing to break the law for your love of the funk. Other than that, the larger percent were designed for television or movie scores. Instrumentation that interprets a certain feeling or intended theme.
THE BAG MESSENGER: Favorite crates to dig in?
MARSELLUS WALLACE: I love going to the dirty dirty man. TN has some great spots. In San Diego I mostly go through thrift stores, weekend swap meets, and Access Hip Hop. I also do a lot of business with local and private sellers. Maybe this sounds crazy, but I don’t want to put my local spots on blast. They got enough traffic as it is ha!
THE BAG MESSENGER: Has Serato changed the way you get down?
MARSELLUS WALLACE: I don’t use Serato. But it would be nice to have doubles of everything. I think it’s a great tool. But it’s just not on my want list of things for I need for DJ’ing.
THE BAG MESSENGER: Every DJ has a horror story or two….what is the worst thing to happen at a gig?
MARSELLUS WALLACE: Ha ha!!! One time I was rocking a party in Ocean Beach at a complex on Saratoga. There was a balcony above me with some drunk chick that got the woosey’s and yacked all over me, my decks, mixer, and all up in my crates. She had pasta that night. (editors note. gross)
THE BAG MESSENGER: What are you working on now? Whats up with this new mix tape?
MARSELLUS WALLACE: Right now I am putting the finishing touches on a mixtape called “Shelf Arrangements”. It is basically a mix of library, rock, and breaks. I am also working on a project with 2 emcee’s. They are called Kaus and Craze. This will be my 1st album with all production and beats my myself. With the help of many others to come, I am looking forward to the journey.
Billy Werner Interview
THE BAG MESSENGER: Where are you from? What was growing up like for you?
BILLY WERNER: I grew up in Queens, pretty close to the NYC/Long Island border. I hada pretty normal childhood… little league, family trips to the Catskills.. etc. The normal shit for a Jewish kid in New York.
THE BAG MESSENGER: When did you first get into music? Influences?
BILLY WERNER: My mom’s side of the family was musical and my dad collected records so there was typically music playing at home. My parents even got me one of those Columbia House Tape Club memberships where you pick 15 cassettes for a penny and then you have to buy like 6 overpriced cassettes within a year or else you get charged a penalty. I bet most people reading this have no idea what I am referring to… I am old. I started getting my own music, rap and pop, when I was quite young .. I saw Beat Street in the movies in 1983 or 84.. I got real caught up inthe whole rap/breakdancing/graffiti thing (I guess you call it hip hop) even though I was 7 and had no actual real life contact with it. I later got into metal, punk, indie, etc…I have always had music and its associated cultures playing a central role in my life and it was an integral part of how I was raised. My influences range from Black Flag to David Mancuso …essentially, if it is visceral and genuine, I learn from it.
THE BAG MESSENGER: How did you first get involved with DJing?
BILLY WERNER: I got into collecting rare soul records when I was around 20 or so. That led to attending rare soul events in New York, like the Empire State Soul Club, and so on. I wasn’t much interested in DJ culture, but my interest in nerdy records and meeting nerds, many of whom were twice my age, got me opportunities to share my collection. That was pretty much it. I got a weekly gig at a dive bar on Avenue A and played northern soul and rare groove every Thursday night. I also did a Saturday monthly at the same bar, where we booked guests… All the dudes that went on to create DFA, Tim Goldsworthy, James Murphy, etc. used to come hang out and DJ with us. It was a fun time in NY, before DJ’ing replaced starting a band as the ‘cool’ thing that everyone could do.
THE BAG MESSENGER: Can you speak on David Mancuso and the Loft? Did you attend those parties? Have they affected the way you approach music?
BILLY WERNER: I have attended 4 or 5 Lofts.. They happen quarterly now.. They are still invite only and ‘private’, but Mancuso does them out of a banquet hall now, rather than his house. I’ve never experienced the kind of atmosphere you get at the Loft. You are dancing next to people who have been going for 40 years, celebrities, toddlers, drag queens..it is the most mixed environment I have ever been in and everyone is just there for the music. There is no posturing. Dudes are doing classic Loft dance moves to jazz records that have no drums, the minute the party starts. It is unlike anything you’ve ever seen. These parties have affected everyone that has attended them. “Famous” DJ’s who don’t go to events will still attend the Loft and bring their children. It is the ground work for anything any of us do, no matter what kind of music we play. Mancuso did it first, did it best and will do it until he checks off the planet. The eclectic nature of the selection and the idea that a party is built up and has peaks and valleys has been instrumental in how Robotique is conceived and the type of events we try to present, both musically and in the atmosphere we try to create.
THE BAG MESSENGER: How did you end up in Philly? How is the Philly DJ scene?
BILLY WERNER: I was in a touring punk band that was based in Philadelphia, so it made more sense for me to move here than to stay in NY and commute to rehearsals and recording sessions. The DJ scene here is incredible. A lot of DJ’s poo-poo the whole thing, talking about how Philly sucks and this and that. We are REALLY lucky in this city. If you have a genuine passion and affection for what you do, Philly sees that. There are enough real heads who have stuck it out through good and bad times in the local music scene that know when someone is coming correct or someone is a faker and the people speak up with their attention and their wallets. Because a party is popular this month or this year really means very little. It takes something real to have any kind of staying power in this city. I love that. I also love that Philly DJ’s support each other, seemingly unconditionally. We do our thing but we respect everyone, no matter what kind of music they play, as long as they are coming from the right place.. And we get the same kind of respect in return from people playing all kinds of genres. It’s a good community here, especially if you approach it in a humble way and LEARN from genuine and passionate people, rather than try to criticize them.
THE BAG MESSENGER: What is Robotique? How did it come about? Who have been some of your favorite guest?
BILLY WERNER: Robotique was started in 2007, by myself and Mike Trombley who really got my interest in disco and underground 70s and 80s dance music moving towards where it is now. Before we crossed paths, I only had a passing interest and respect for a lot of the music I now play as opposed to the maniac I’ve turned into. We wanted to do a party together so we started a monthly at Medusa Lounge and the event was born. The first format of the night was disco early and current house late. At some point, we just made it disco the whole night. Mike moved to Detroit, the party moved to Kung Fu Necktie, and I asked my good friend Ryan Todd to join me and here we are. We’ve been weekly for two years now and the party will hit its 3-year anniversary on September 10.
This will sound like the typical cop out but I have enjoyed every guest we have booked. We are lucky that we work at a venue that is (mostly) unconditionally supportive and is open to our ideas. I mean booking the first Philadelphia gigs for Ron Trent, Trus’me, Runaway and Linkwood come to mind as proud moments. Spinna just played, which is insane to think about. King Britt played an insanely eclectic and funky set.. Rich Medina is a monthly resident. We are humbled by the respect all our guests have shown us and the love we get from basically everyone who is local to Philly. All of the guests, regardless of status, bring their A-game to the party and they don’t rely on their names to make the party fun. They really dig for the right music to play. That is crazy to me and we are really fortunate that the party’s reputation commands that kind of approach from the people we book.
THE BAG MESSENGER: When did you first start collecting music? When did disco grab your ear?
BILLY WERNER: I bought my first record when I was 13 or 14. It was probably a punk7”. My interest in 60’s soul, funk and break beats eventually led me to an interest in disco and modern soul in the late 90’s and early 00’s. As I mentioned earlier, my friendship with Mike Trombley, as well as Apt One (Mike Fichman), Ryan Todd, Shawn Ryan and a handful of otherlocal DJ’s really ignited the fire under my ass to dig way more aggressively than I ever have. DJ’s in Philly know music. You have to be on your game here or you will get chumped by the next person’s digger mitts. It’s not a competition, just an intense appreciation and passion that I haven’t felt from any other locale and it inspires me to dig and listen very carefully and intently.
THE BAG MESSENGER: What kinds of things are you looking for these days? Who are some of your favorite producers?
BILLY WERNER: Without giving too much away, I have been on an LP kick… Lots of private press and European LP’s from the late 70’s up through the mid-80’s have some cuts on them you wouldn’t believe and it cuts across genres. I recently picked up an album from some Russian new-wave/pop group from 1987 that has some material you wouldn’t believe. You listen to it and you’re like “how is this not an Italo or Euro disco holy grail?”. Best rule of thumb is that when you think the well is dry, you are looking in the wrong well. There is no shortage of undiscovered and new music to learn about. As for current producers, I really like The Revenge, Tensnake, Motor City Drum Enesemble… locally, Apt One’s latest single is really killer. You can’t be lazy in this city.. There is music everywhere and lots of it is great.
THE BAG MESSENGER: Any interesting digging stories? Favorite finds?
BILLY WERNER: Nothing too crazy, actually. My digging experience have been relatively boring.. Other than the occasional encounter with Stinky Steve or The Count.. their typical antics and their general appearance and demeanor… Diggers and nerds know these people and everyone has similar stories about them. A sealed copy of ‘Pet Sounds’ for $1 was probably the peak of my discoveries.
THE BAG MESSENGER: How deep in the crates are you?
BILLY WERNER: It’s all relative. Compared to someone like Dam Funk, I am scratching the surface. Compared to what you may hear at Silk City on a Saturday, I am like a trapped miner.
THE BAG MESSENGER: Do you carry a bag? What comes with you every day?
BILLY WERNER: I do! Usually it’s my lunch, my keys and an ipod. I have a streamlined existence.
THE BAG MESSENGER: Whats the key to packing for a gig?
BILLY WERNER: Balancing what you want to hear with where you are playing and who the audience is likely to be. For Robotique, all bets are off and it’s really simple. We pack what we want.
THE BAG MESSENGER: Has Serato changed the way you get down?
BILLY WERNER: I actually had Serato for a period of 6 months and did not enjoy it. I sold it and went back to vinyl. For me, I just did not like using a computer to DJ. I also like the rituals of looking through your records and recognizing them from label art. I respect Serato as a tool and don’t hold against folks that use it, it is just not for me. If you are more asking how has other people using Serato changed my approach to DJing, it really hasn’t.
THE BAG MESSENGER: Every DJ has a horror story or two….what is the worst thing to happen at a gig?
BILLY WERNER: This is a good question after the Serato question. The popularity of digital DJ’ing has made so many clubs and venues ignore the small handful of DJ’s that still use vinyl. You won’t believe how many bigger venues do not trouble shoot their booths and equipment with records because Serato automatically corrects skipping and stability issues. Venues don’t know how to balance their counter weight or calibrate their equipment… For example, it is virtually impossible for us to play at Silk City. As soon as one person starts dancing in front of the booth, the needles are jumping halfway across the record. It’s sorta depressing, but I guess time has moved on without us.
THE BAG MESSENGER: Where do you find inspiration to do what you do?
BILLY WERNER: The friendships I’ve solidified through Robotique and DJ’ing ingeneral keeps me moving. Receiving unsolicited respect from people I look up to is another benefit to doing what I do.
THE BAG MESSENGER: What do you think DJ culture is going to look like in the next ten> years? (Will technology be the end of us all?)
BILLY WERNER: Good question. Honestly it will probably look about the same. The young kids jumping on the bandwagon…I would say about 20% of those people will actually stick with it, which seems to be about normal. The people playing their first gigs now, will be the grumpy person I am today. I will probably doing gigs at retirement homes.
THE BAG MESSENGER: What can we be looking from you in the future?
BILLY WERNER: Although it’s hard to tell, I am cutting back on non-Robotique gigs to focus on production. Hopefully there will be a record with my name onit at some point before 2011.
Check out Billy Werner on Twitter and keep up with Robotique online
KENNY MEEZ (Federation Sound) Interview
Jamaica’s musical history runs deep. It is constantly evolving, shifting in speed, and redefining in sound. Since the 1960’s and the inception of Ska and Rock Steady, the DJ has held a strong hand on the island. With the power to define and spawn new genre’s the DJ with the largest sound system was king. Over time the term sound has been redefined, whittled down, and focused. A large sound no longer just means size. The speakers still rattle and the people still dance, but new sounds are tools carefully tailored for contest, empowered with the power to create or destroy. These new sounds compete for size, the Federation Sound is one of the largest in the world. DJ Kenny Meez founding member of Federation has his hands on the volume with a grin on his face.
-THE BAG MESSENGER
THE BAG MESSENGER: How did you get into DJ culture? When did you get into shopping for records?
KENNY MEEZ: I used to work at armands records on 11th and Filbert here in Philly, and also after the move to chestnut st. Early before working at a record store I would also come into the city on the weekends to shop. We hit Armands, Sound of market (RIP RANDY FLASH) and Funk-O-Mart. I got into DJ culture early on. I would make remixes (what youngsters call mash ups now), press them on wax, and sell them across the country and around the world. I released my first 12 inch in 1995 and then a slew of 7 inches and 12 inches from there.
THE BAG MESSENGER: When did you first get involved with playing Reggae records? Who got you into this? What was life like for you before Reggae?
KENNY MEEZ: I first got involved with reggae after hearing this Beenie Man record called “Stop Live In The Past” (was renamed Memories for the U.S. release). I heard Cosmo Baker play it this one night in NYC and the next day I went out and bought the 12inch. Before reggae I was a Hip Hop djing playing that and R&B (for the ladies).
THE BAG MESSENGER: How did the Federation come about? Can you explain what it is?
KENNY MEEZ: Federation is an American and Jamaica Sound System that was started by Max Glazer and Cypher Sounds and myself. Federation is now Max Glazer, Kenny Meez (me) and Disco D (R.I.P.) in America and Alric & Boyd in Jamaica. A sound system these days is a group of dj’s who come together under one name to promote music. The biggest part of what makes up a sound system is cutting dubplates. We get a custom recording of a song where the artist bigs up our crew (most of my dubs say federation sound and big up all the dj’s in our crew). We have hundreds of these. Most Sound Systems pay upwards of 1,000 us dollars for one song, so you can imagine the investment that is made in just getting started.
THE BAG MESSENGER: What was your first trip to Jamaica like? Any specific memories?
KENNY MEEZ: If your into Jamaican music I would say going to Jamaica is similar what a Muslim does when they make a pilgrimage to Mecca. Its just something you have to do. Often it becomes a regular trip either once a year, or sometimes once a month. I love Jamaica and could tell stories for days! Lets just say my first trip involved voicing dubs with Elephant Man.
THE BAG MESSENGER: How has it been getting involved so deeply in Reggae culture without having direct ties to the island? We’re people always accepting?
KENNY MEEZ: In the beginning I used to question it. Not long into my career I began to grow with the culture, and really felt connected to the place. Eventually I was accepted as a Jamaican and no one really questioned me.
THE BAG MESSENGER: What’s up with Sound Clash? Can you describe how the event goes down?
KENNY MEEZ: Sound Clash is a battle between two or more sound systems. They battle for who has the best dubplates, who can counter act the opposing sounds dubplates, and in many cases they cut dubplates with custom lyrics dissing the opposing sounds. These dubs may only play the night the clash is going on. It’s a big deal.
THE BAG MESSENGER: What’s the clashing scene like? Who are some of your favorite artists to work with?
KENNY MEEZ: AGGRESSIVE! I like working with Chino, Laden, Stephen Mcgregor, Freddie Mcgregor, Big Ship Records, Aidonia, Bounty Killer, Vybz Kartel and El Feco
THE BAG MESSENGER: When did you first start getting dubplates? How does that process work?
KENNY MEEZ: We started voicing dubs from the start of Federation Sound. Our first artist was capleton. In those days you went into the studio worked out the business with artist (the money), then cut the dub to a dat tape. Usually we split with the instrumental on one track, and vocals on the other track. From there we mix it down and cut the dub to a acetate plate to spin it out.
THE BAG MESSENGER: Who’s really doing it at Sound Clash? What has been big in the past? Who’s hot in dancehall right now?
KENNY MEEZ: Their are always new sounds coming up. Some of the best are King Addias, Bass Odessy, Black Kat, Mighty Crown, Stone Love. I would say Vybz Kartel is hot in the dancehall right now
THE BAG MESSENGER: You travel a lot, whats the key to packing?
KENNY MEEZ: For me its always about simplicity. One bag for clothes etc. and one bag for my computer/mobile studio.
Lalie Kavulich Interview
Style is something cultivated through years of experience. It comes naturally to some, others end up starring on “What Not to Wear” or fading into a patina of blurry look-a-likes. For Lalie Kavulich standing out is not an issue. When she isn’t crafting formal wear with the Rhinestone Rembrandt MANUEL, you can find her reconstructing vintage garb for a new clothing line or dancing to James Brown. Sound like the kind of girl you might want to meet? We think so.
DJ HUDSON INTERVIEW
A few months ago we here at Tucker and Bloom held a contest to find the perfect lazy afternoon mixtape. The DJ with the best mix would receive one of our North To South Messenger bags. We went through a lot of fine mixes before awarding the first place prize to DJ Hudson a.k.a Alex Moitt. We recently caught up with Alex to find out more about his work, his life as a winner, and to see how the North to South bag was working out for him.
Will Van Zandt Interview
Will Van Zandt is a man full of stories. Son of famous folk singer Towens Van Zandt, who is as legendary for his wild antics as his song writing; Will is a bit of a legend himself. He was once run over by a tractor trailer on the interstate in Nashville, passed up by the responding ambulance, and lived to tell about it. He is about as genuine a person as anyone could hope to meet. I have had the pleasure of knowing him for some time and share a few crazy stories with the man myself. This interview won’t be covering any of his wild past or give you specific insight into his fathers song writing process (sorry Townes fans). Instead we will cover WVZ’s obsessive passion for crusty old spray paint cans. Perhaps this will give you more insight into his father than a world full of unreleased demo tapes. Perhaps you will learn about the hunt for Jungle Green. Either way, while “there are two kinds of music. (The Blues, and Zippity-Do-Da”- TVZ), there are many can’s of spray paint yet to be unearthed.
-THE BAG MESSENGER
THE BAG MESSENGER: How did you first get into collecting cans?
Will Van Zandt: I got into it through graffiti. Back before all the specialty paint brands were around, you were very limited as far as colors and shades. In the mid nineties krylon had discontinued a lot of their more vibrant colors. My guy Verse, who basically schooled me as far as graffiti is concerned knew about some local mom and pop hardware stores who still had a good stock of discontinued colors, so we started cleaning those out, just getting paint to use. Every now and then I would find cans that were real old, they wouldn’t even spray, little off brands I had never heard of, some with crazy graphics. I would stick those on a shelve to display. Over time it was less about finding paint to use, and more about the older cans themselves.
THE BAG MESSENGER: How long have you been doing it?
Will Van Zandt: It started in 98’ so around twelve years. I slowed down for a while until I realized people were paying good money online for some of these cans. I defiantly got a second wind after that.
THE BAG MESSENGER: How much are some of these worth?
Will Van Zandt: In this economy no one is safe… Stuff isn’t going for what it was say, five years ago. At one point it was nothing to get on ebay and see cans going for a couple hundred dollars. I’ve seen single cans go for close to eight hundred dollars, that’s unheard of right now. Most stuff isn’t even selling. Right now it’s more about trades with other collectors.
THE BAG MESSENGER: What brands are you into? What types of cans are you looking for? How many cans deep are you?
Will Van Zandt: Probably my favorite right now are what are called picture cans. They were made by a few different brands, and basically every color has a different illustration that describes it. Also I’m into Rustoleum stuff 1965 or older. They sent out a lot of cool advertising stuff back in the day. Giant display cans, transistor radios that look like cans, I have a gold money clip, and a company softball team jersey from the early seventies. I’m looking for 1950’s “grenade and soup cans”, called this because of their shape. I don’t think most people would even recognize the “soup cans” as spray paint. I’m into greens, avocados, limes, and aquas. I would say i have around a thousand cans that are worth mentioning, but I’m defiantly trying to downsize. It’s gotten a bit insane, so a lot of stuff is boxed up these days.
THE BAG MESSENGER: What is the furthest you have gone on a trip digging?
Will Van Zandt: With Verse I’ve been down into Mississippi, on all back roads. We made it to Vicksburg Miss before we ran out of room in the truck and had to turn around. Same deal in Georgia, South Carolina, Kentucky. Those are forsure some of the best come ups. There is not really anybody else in the South doing this. It isn’t like in the North East where you have a lot of guys going to the same spots competing. It was all untouched old family owned hardware stores. You know, “Grandpa opened up after the war, then my dad took over, now it’s mine.” These guys don’t recycle, and they don’t throw stuff away. Prime digging.
THE BAG MESSENGER: Can you describe what a digging mission might look like? How do people react when you tell them you want to dig up their old paint cans?
Will Van Zandt: We leave at three or four in the morning, and by the time we get to the next state the stores are starting to open up. We map it out, then hit every little town. When they start to close we get a cheap ass hotel room, and figure out where to go the next day. Most of the time you just get looked at like a psychopath, “ Your looking for what!?” I’ve been called a “long haired paint huffing drug addict” and told to get out of people’s stores. Sometimes you come across an old man who’s happy to have somebody who’s actually interested in his business, and wants to show you everything upstairs, in the basement, and tell stories about the “good ole’ days”. You can spend full days in a place like that. I’ve been in basements where cans were literally stuck up in the spaces under the floorboards. Then his buddy over in whateverville has a store so he calls him up and sends you over. These places are far and few between now, if they even still exist.
THE BAG MESSENGER: What other kinds of stuff do like to collect?
Will Van Zandt: I’ve collected everything at some point. Stamps, coins, comics, baseball cards. If I see a shiny rock I want that shit, but there’s a fine line between a collector and a hoarder, and I’m trying to cut back. I don’t want to end up on A&E!
Tucker and Bloom Prove E-Commece is the way to go for smart looking bags
Nashville Style in the BAG
David Bloom and his son Case definitely have the best-looking bags in J.J.'s coffee shop on Broadway- this despite the fact that we're surrounded by Vandy students and young professionals with their designer-brand briefcases and laptop totes. Boom's been a "bag nut" for years, and says the first time he ever worked with a hide of leather he felt like he'd been reborn. In the early 70's he befriended a Greek handbag-maker while living in Boston and studied the traditional craft with him and other skilled European artisans there and New York, knowing it was what he was meant to do,
From these experts he learned the fine art of leather-crafting, based on complex European techniques passed down over decades. "I leaned from a lot of the old school guys in the industry in New York" says Bloom. "I worked side by side with the last of a dying breed, many of them survivors of the concentration camps, who do things in a way we don’t in this country today".
His son and business partner Case interrupts, reminding me that true craftsmanship is a fading art, and that the few people who still practice those old skills have an obligation to take back what bags once were from the hands of the mass manufacturers and return them to a level of high craftsmanship and durability. Which s exactly what their company, Tucker & Bloom, aims to do.
Bloom has built a long career on his bag design and construction skills. His first company, Bloom Fine Leather Accessories, produced a much-in-demand roll-top bag that made the New York Times fashion section and sold at Macy's. Henri Bendel, Saks and Neiman Marcus. The small company (Bloom, his wife Dru and one additional employee) eventually closed when the births of their children Case and Maddie meant the couple couldn't keep up with demand. During that period Bloom began working with handbag companies including Etra, Sirco International, L.J. Simone and Ishihara Industries, which held the licenses for Courreges and Valentino. In the 1990's the family moved to Nashville, where Bloom headed the design team for Hartmann Luggage for five years. Independently, he's designed for Valentino and Perry Ellis, at one point moving back to New York to work for Coach, heading their travel line in 2000. Following 9/11 the travel industry slumped, however , and Bloom left Coach.
In 2006, Bloom and his now- grown son decided to give it another go family-style and started Tucker & Bloom (Tucker is Dru Bloom's family name and Case's middle name). Together, they decided to capitalize on David's exceptional design and construction skills and MTSU grad Case's promotional abilities, building a middleman-free business in Nashville. The Key is e-commerce, which allows them to reach out to the community, craftsman to buyer, in the old world tradition-just online instead of in a private atelier.
The target audience for the bags is wide, though common traits are discerning taste and the desire to differentiate themselves from the herd. Bag designs are separated by lifestyle needs – work, leisure or travel. Styles are not gender-specific; there's something to appeal to every customer. Fabrics are both sturdy and attractive, with leather, cotton canvas and ballistic nylon in a wide assortment of colors. Lush trim like calf-skin is obtained as food by-product from the agriculture industry. Checking out the website, you'll find an exciting assortment of messenger bags, laptop cases and other bags suited to all urban and suburban professionals. Neoprene product lines focusing on travel and leisure are expected to be available shortly.
The Blooms are hoping their band becomes something the public is looking for, and there's every reason to believe that's possible. The next step online will allow customers to customize each bag's color and materials. There's no question that e-commerce has changed the way we live and buy, and Tucker & Bloom provide an example of the best sort of e-business. They make cutting edge products available to the public without a middleman, working from a very forward-looking model even as they revisit the old values of craftsmanship and design. No brand name can give you that.
Published in Nashville Lifestyle Magazine June 2008 – By Stephanie Stewart