For over 30 years, Rick Wilhite has been a staple of the underground music scene in Detroit. As a DJ in the 80's, Wilhite dazzled crowds with his soulful DJ sets, mixing his passion for house, disco, techno, and any other genre that fit his fancy. He's also responsible for some of the most gorgeous house tracks of the past 20 years through releases on Kenny Dixon Jr.'s label KDJ, and his recent relationship with Rush Hour Records in Europe is ensuring his sound and message hits an entirely new generation of avid listeners. Discogs is very lucky to have Wilhite manning the decks for Crate Diggers Portland, and we recently caught up with him to talk about music, digging, and how there are just too many goddamn remixes!
Hi Rick, thanks for being part of Crate Diggers in Portland! Have you been to Portland before?
Oh yeah, I’ve been to Portland about 7 or 8 times before. Always a good vibe there. I used to play at a club called the Ohm that I liked a lot.
So you’re originally from Detroit?
Yes.
What are some early records that influenced you as an artist?
Some early records that influenced me as an artist. Oh, man, that’s tough. Hmmm. Wow, I can’t think of just one. You mean, you just want one record?
Well, let me narrow it down a little because that can be a brutal question for any music lover! What’s a record that made you want to DJ?
Well, in Detroit back in the late 70’s and early 80’s, roller-skating joints were very big, and that’s where you heard a lot of music being played. Detroit was a big roller-skating city. From those experiences, I began to build my own set up and my friends would come over and I’d spin records for them. As this continued I just assembled more bits and pieces to build my own system, and it grew from there.**
So you’re a self-taught DJ?
Oh yeah, we were all self-taught. There just wasn’t any other option — you put together your own gear and taught yourself. But back to your influential record question, if I had to pick one, it would be "Disco Circus" by Martin Circus.*
Ah yes, the one on Vogue Records, right?
Yeah, that’s it, but you have to make sure you’ve got the right edition, that song came out on all kinds of different labels with different versions. That entire Circus album was really inspirational because of all the vibes and instruments going on, you know? You had clarinets, triangles, everything. Really built up a special kind of vibe.
Do you still only mix with vinyl?
Oh yeah. I have no choice, there’s just too much music out there that isn’t available on any format other than vinyl. Keep in mind, I’ve been buying records for over 30 years, this is just what I do. It can be hard to DJ with only records, though, especially when you’re flying. There are weight restrictions and what not — sometimes airlines just won’t let you carry records on the plane, and I’m not checking-in my records.
So it’s an economical choice as much as a practical choice.
Yeah. It is getting harder to spin with records, though. The DJ booths keep shrinking! Sometimes I show up at a club and there is no room to even fit two turntables in the DJ booth — they’re too busy making room for all the other shit they feel needs to be there.
Yeah, I’ve noticed this myself as a DJ over the years — everything seems to be shrinking, from the booths to the devices you play the music with.
Yeah! I need room to move around, you know what I’m saying?
Your relationship with Rush Hour has proven to be a good outlet for your older records to get re-released. How did this relationship start?
RH just reached out to me and told me they wanted to be involved with releasing some old stuff, so yeah, it’s been good getting the music out to more and more people.
As a huge fan of yourself, Theo Parrish, and Moodymann, I’ve loved the Three Chairs releases you’ve put out. Any plans on more Three Chairs stuff in the immediate future?
Yeah, that’s just a matter of getting everyone together and making it happen. Kenny and Theo are friends, so it’s always a possibility.
How far back do you go with Theo and Kenny?
I’ve known Kenny longer than Theo, but I got to know them through being into the same type of music in the same city. Theo moved here from Chicago, and that’s right around the time I worked at a record store called Buy-Rite records in Detroit.**
When did you work there?
Mid to late 80’s. It was THE place to buy dance records. We had Trax, Transmat, DJ International, all that shit. If you wanted a dance record, you fuckin’ went to Buy-Rite — fuck the rest of the world and their record stores, we had all the shit you needed. Some people may not want to hear that, but it’s the truth! After that I had my own store.
When did you run your own record store?
Opened in 1991, closed up in 2010. We specialized in dance music, but we had all kinds of shit, from jazz to hip hop to whatever you needed. But our focus was on Detroit-based music, that was very important. We would put out records from people like Omar S. and get the product moving while focusing on independent labels.
That’s great to hear that you put your heart and soul into a brick and mortar store for 20 years.
Record stores are important. If people want to hear the widest range of music, you need record store employees who know their shit, and who know what you’re looking for, otherwise you can miss it. I still buy records in stores, and I love it. If your store has something I need, I buy it.
Do you try and make time to record shop in each town you’re working in?
Yes, indeed, always. This never stops for me, I’ve been buying records for 38 years, and I always make time to go record shopping, wherever I am.
Your DJing output is much more than your recorded output. Do you prefer DJing over recording your own music?
Yeah, I definitely DJ more than I produce. I like to throw parties, and I’m always doing stuff for people I know, and it’s a way to just keep the coals hot, you know what I’m saying? It’s all mental, and I don’t ever want to force things. I just feel it, and when it’s the right time, I put the shit out.
My favorite releases from you are the Three Chairs stuff, really inspiring music. I appreciate that you all take the time to create something special in context of each other, and the tracks stand alone without any remix accompaniment.
There are too many remixes out there, man! Shit, there was a single I was checking out online recently and there were 23 remixes!! 23!!! What the fuck are you going to get with 23 remixes?!
And who has that kind of time??
(Laughs) Yeah! I definitely don’t!
How deep is your involvement with Discogs? What are your favorite and least favorite aspects?
I’ll tell you this — 65% of the time Discogs does not have what I want. You’ll have it in the database, but no one has it for sale. Now remember, I have some very particular tastes.
Right, if you’ve been buying music for so many years it stands to reason that the records you don’t have are exceptionally rare.
Yeah. Man, sometimes, I buy a fuckin' a record on Discogs just for the fuckin' cover. You probably think that's crazy, but fuck it man, I NEED that cover! It's the key to the album, you know what I'm saying?**
Absolutely! And that isn’t crazy at all, I think many people would agree with you. The cover is usually your first experience with an album and it all ties in together.
Exactly, so I’ll spend 30 or 40 dollars just to get that cover. A lot of old records are just scratched and beat up too, so I turn to Discogs when I need to replace shit. My favorite thing about Discogs is how the date to the releases is listed chronologically. I think that’s very important when searching for records. It’s important to put a timeline on this music and realize its time and place.
Speaking about relevance of time and place, do you feel that the roots of Detroit house and techno are getting its due? That is, do you feel that more and more people realize and appreciate the history of music that comes from Detroit?
I’m a historian with music, and I do not feel that people know their history about music from Detroit. There just isn’t enough information out there. I mean, artists like James Brown don’t even get their due — all it would take is one minute to get into the music and understand its time and place in history, but it doesn’t happen. All you need to do is listen to the music and look at the year it was released to understand how ahead of its time it was.
I am the great homogenizer of the tepid. The great conqueror of the junk pile. The wicked vampire whose spirit has been rendered G+ by the music industry. I deal in a type of fruit that is ripe for a few seconds then rots for an eternity after, never decaying in entirety. That fruit is pop music and I handle a lot.
The place to buy such rancid fruit? The flea market. I found myself once again limping back to the where it all began: Rummaging through boxes and paying an admission fee for the privilege. The key to success with scoring at the flea market (or car boot sale or whatever) is based on two things:
- Get in early.
- Get out before the sun melts everything.
In the open air market, the sun is the great equalizer. Even if no one scores the records you were looking to find, the summer sun will warp it…if you don’t get there soon enough. So how do you save potential black gold from the heat? Start from the back. Ignore any vendor that looks like they’re biding time to set up a real brick-and-mortar store. Keep going past the people that hustle junk every week. The slots furthest from the entrance with the most yard-sale looking stuff are the strongest. Start here. Then, work your way back towards the regulars, buy some bootleg sharpies from those vendors that always have merch in cardboard boxes. Then go home.
Hey look, a list of like 3 cool records nested in a sea of bad decisions.
Our flea market has a concession stand. They sell corn dogs and fried dough. Who doesn’t like corn dogs and fried dough? Corn dogs are the answer to the loudness war and the digital/analog debate. I got records for once because I went early.
The flea is a lot like life right now. When I was a kid, advertising told you what to buy and what to believe in. Now it just sponsors ironic content on the internet. There are no products. Companies are a dying breed. Everyone is freelance. Look at the flea market. History’s curated crud served up solo for your personal enjoyment. No alliances, no allegiances. I work for the database, what do you do?
July 16th - 29th
Features, Updates, & Chores
- Removed subform logic that changed artist names from the “The Artist” format to “Artist, The”
- Added search suggestions when a search returns no results
- Improved the experience on the collection page for new users with empty collections
Bug Fixes
- Fixed an issue with the collection API endpoint’s instance_id
- Fixed an issue with reviews where the image would be the release’s album art instead of the user’s avatar
- Fixed an issue where empty folders would display an empty collection message
- Fixed an issue where releases with “<” would not display
- Bulk uploads to “change” your inventory listings no longer changes “Sold” items to “For Sale”.
- Various fixes for the beta submission form
As a reminder, if you have any questions or suggestions about development-related items please make a post in our development forum; thanks!
Crate Diggers PDX is just around the corner, and as we lead up to the event, we've been introducing you to some of the vendors here on the blog.
Thom Jones is the owner of the weird and wonderful Portland based record store, Crossroads Music. Crossroads is located in the eclectic, hippy and hipster-infested Hawthorne neighborhood in southeast Portland. It's located next-door to Artichoke Music, a 40-year-old nonprofit music community center, on a mission to create a connected community of music lovers.
Crossroads had a booth last year at our first ever Crate Diggers event, so I was sure to ask Thom what lured him back again this year:
"The money. I mean, as local record shows go, it was one of the better ones. A very diverse cross-section of dealers, a lot of excited nerd shoppers, beer, and near-by shopping for bored partners."
At Discogs, whenever we discuss our favorite record stores in Portland, Crossroads Music is always mentioned. Part of what makes Crossroads unique is that their inventory consists of about 35 music dealers selling music on a consignment. Thom summarizes Crossroad's inventory consignment method as follows:
"Approximately 30 nerds who have been forced by parents, roommates and/or girlfriends to 'make room' for 'better relationships,' rent table space where they sell records to help fund their own unhealthy and unreasonable record collecting habits. Their own records, of course, are often snuck in through their garages."
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Thom has been in the music industry for most of his life: DJing for over thirty years, playing in bands, working and managing record stores, and currently he owns and manages Crossroads Music. However, Thom didn't start his career in music. I was surprised to find out that he worked as a mechanical engineer in the early 80's, helping develop the High Mobility Multi-Purpose Wheeled Vehicle, AKA The Hummer.
"I found it disturbing to work for someone called a Weapon System Manager (WSM), so I went in the opposite direction of the money and took up buying, selling, spinning and eating records. I prefer a weapon system-free job that involves discovering new old music all day. However, I continue to detest conversations about The Beatles. P.S., Paul isn't dead. He never existed."
When Thom is not selling records, DJing, or complaining about Beatles collectors, he occasionally finds a spare moment to involve himself in making music.
"I released one of the most ignored CD's in history under the name Else Teicher. I also appear on some releases by The Pointy Toes Ensemble, named after my preferred footwear. I am currently working on putting out a record by the alligator-headed artist Gar Gar, because I will put out anything that features an alligator-headed lead singer."
Thom is also a local DJ, often headlining at Portland's fantastically strange, horror themed Lovecraft Bar, as well as putting out a weekly show on Portland's XRAY.fm.
"I have been a club, event and radio DJ for a stupid amount of time. I primarily
play records, but will stoop to playing songs off my iPhone to field certain
requests. And, by "stoop," I mean that I have to stoop down in the booth to find
the auxiliary input for the mixer. I can also fill up a room with fog like a
real champion.
"My XRAY.fm show is called Hipsters Suck and is on live from 11-midnight on Mondays (followed by my wife's show Vampirella In Iridescent Teal. In many ways, the 2 shows are companion pieces). All vinyl, because I am just not smart enough to figure out all that Serato malarkey that the kids seem so fond of, which is slowly but surely DESTROYING THIS GREAT NATION! I also DJ around town under the name DDDJJJ666 (with my wife, Magnolia Bouvier). Also all vinyl, because vinyl may skip, BUT IT NEVER CRASHES. Unless I get extremely legally high."
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Thom seems to have connections with just about everyone involved in the music scene in Portland, so I wasn't surprised when I ran into him at Cascade Record Pressing recently. Like everyone at Discogs, he's excited to see Oregon's first and only pressing plant open up just outside of Portland.
"It is a beautiful facility, run by the right kind of weirdos. Plus, they didn't immediately kick me out when I suggested a release with actual fish scales pressed into the vinyl. I think it is going to benefit the PNW and beyond greatly by loosening the chokehold that Record Store Day has put on many of our nation's record pressing plants. It is piloted by passionate, total dorks with unhealthy and unreasonable record collecting habits. And there are some PBR 24's in their fridge."
Thom will be at the White Owl Social Club on Saturday, August 29 for Crate Diggers PDX, with a selection of prog, noise, goth, metal and more. If you can't make it to Crate Diggers, check out Thom's Discogs store.
A few weeks back we celebrated the 10 most collected "funk" records in our database, and while it did illustrate some of the shortcomings of genre tags in general, it proved painfully obvious that there are a hell of a lot of Prince and Talking Heads fans out there. The true funk masters like George Clinton and Isaac Hayes were conspicuously absent from the most collected, but I did my level best to point the uninitiated in the proper direction to funkified enlightenment. However, your collections, in all of their unique and and carefully polished glory, cannot just be brushed off and forgotten about. I share your love of mis-labeled genres because the funk I hear on that Talking Heads song may sound like an awful synth-pop flashback to you. We're both right and wrong, and by the end of the song, it's the music that wins.
My relationship with the Talking Heads began when my parents took me to the theater to see "Risky Business" when I was 9 years old. Unconcerned and freely oblivious about what their child thought of watching adults have sex on a train, my mom and dad were hippie staples of what it meant to be progressive parents. I loved every moment of that film, even if I didn't have a fucking clue what was happening, and I took five key things away from that impressionable experience: 1. Rebecca DeMornay looked awesome naked. 2. The Tangerine Dream score was the best thing I'd ever heard. 3. That Prince song sure was cool. 4. And that Talking Heads song was even cooler. 5. Rebecca DeMornay looked awesome naked.
Scribbling thoughts down on my mental notepad, I went home and ruminated what I had learned. It became apparent that, apart from the pipe dream of DeMornay accepting my 9-year-old hand in marriage, I had to find a way to get that soundtrack. I explained to my parents that buying the soundtrack completed the experience of them dragging me to the movie in the first place, and with this carefully devised plan of mental manipulation executed with precision, they relented and bought the record for me. I studied every note on the soundtrack, but it was "Swamp" by the Talking Heads that most intrigued me. David Byrne was muttering about being "swallowed whole" and grunting and wheezing and making a fascinating racket in general. It was a glorious jumble of noise that forever solidified my vision of how pop and funk could co-exist so gracefully.
And so began my trek into the world of the Talking Heads. I unearthed the albums that had come out before "Speaking In Tongues", and kept a watchful eye on everything they did after. For ten years they challenged audiences, then packed up and moved on with their separate projects. Time only proves how influential they've been on modern music, and with this list I'm going to point out ten of their songs that sound more relevant today than ever.
10 Best Talking Heads Songs
(10) Swamp
I've already discussed why this song means a lot to me, but it took on more relevance in context of its given album, apart from the "Risky Business" soundtrack. For all intents and purposes, "Speaking In Tongues" is arguably the Heads' best album, with the possible exception of one other, which I'll get to further down this page. This song is indeed funky, weird, and melodic which is a perfect microcosm of why we love the Talking Heads.
(9) Mind
Picking and choosing a song from "Fear Of Music" seems like blasphemy as the album works perfectly as a whole with each song being a fully realized complement of the other. A few other tracks were chosen as singles from this album, but it was "Mind" that has left the most indelible impression over the years. Another funky tune, it's wonderfully knocked off-balance by a plucky guitar riff that shouldn't work within the framework of the other elements, but ends up sounding exactly like it was meant to be there. There is hardly a moment where this song doesn't sound incredible.
(8) City Of Dreams
Seemingly forgotten in the Talking Heads canon is the the "True Stories" album. It was a little more mainstream for the band, but contains some of their most poignant moments all the same. The album doesn't quite flow as well as their earlier efforts, but tracks like "City Of Dreams" showed off their talent in composing heart-warming ballads as well as dropping the nerd-funk they perfected. They still had more to say with one more album released after this one, but "City Of Dreams" acted as a beautiful send-off to their legacy.
(7) The Big Country
This song is great for a lot of the same reasons "City Of Dreams" is so touching, with "The Big Country" acting as a swan song of sorts. They take their art-school weirdness vibe and mingle it with more traditional rock elements, while injecting it with a healthy dose of americana. They were beginning to find their footing as they stepped away from the punk world, tipping their hat to the 70's with their "More Songs About Buildings And Food" album, simultaneously putting their heads down for their inevitable tackling of the 80's around the corner.
(6) Psycho Killer
In danger of being in that "holy shit, do I have to hear this song AGAIN" zone, "Psycho Killer" was the introduction most of the world had to the Talking Heads. All nerves and jerky vibes, Byrne spasmed all over the stage and gave us visual accompaniment to some pretty out-there rhythms and energy.
(5) Seen And Not Seen
One of the most bare bones yet effective songs the band ever accomplished. Covered in funk and downtempo grooves, the underlying new wave synth line gave it just enough melody to pull it all together and gently suck you in like few other Talking Heads track ever could. Byrne's vocals are at an inviting simmer for the duration complementing the monotonous electronic shuffle layered on top. Hidden away on side 2 of "Remain In Light" (and the b-side to the more popular "Once In A Lifetime" single), it was eclipsed by a few of the songs that came before it, but over time it's become a prime example of how ahead of their time they were.
(4) Nothing (But Flowers)
You know you're cool when Johnny Marr of the Smiths decides to join your group (even if it was only for a second). "Naked" was sort of a messy end for the band, but it did produce some stone-cold gems, with "Nothing (But Flowers)" being the shining example. It was probably difficult to envision how you could possibly expand upon the coolness of sound the Heads came up with, but they figured out that having a Marr guitar riff would probably be a good way to find out. Everything the Talking Heads had accomplished musically was perfectly presented in one five minute swathe of sound -- funk, rock, americana, dance, world, indie, punk, and a few other things all bubbled to the surface of this track. It didn't come from the best album, but "Nothing (But Flowers)" is certainly one of their best moments.
(3) Road To Nowhere
This song punctuated a rather hit and miss album with "Little Creatures", but it was an enjoyably messy listening experience all the same. Talking Heads had a knack for saving the best for last on their albums, and "Road To Nowhere" rendered all the meanderings before it more meaningful and potent just by its presence. This song has a lot of meaning culturally as well, with the video being a big explosion for the MTV generation, but more than anything it showed the Heads playing around with all the existential proclivities humans have without sounding like a bunch of pretentious assholes. This song still has considerable bite.
(2) Born Under Punches (The Heat Goes On)
I know I just said the Heads always saved their best for last, but not the case with "Remain In Light". This is rightfully considered to be their best album, and arguably, this is the best song from it. While the album contained their most recognizable hit "Once In A Lifetime", it's the album as a whole that flows so seamlessly. They again brought in Brian Eno to produce and what evolved from that is easily one of the best albums of the 80's. "Born Under Punches" explored disco, funk, and punk when these disparate gestures hardly ever intertwined on the same record. Listeners found a lot of similarities spiritually with these different genres, but meshing them was still a test in progress. If you have somehow never heard the Talking Heads in your life, this is a perfect place to start.
(1) This Must Be The Place (Naive Melody)
The second song from "Speaking In Tongues" on the list, but can you blame me? The Heads called their own bluff by throwing in the "naive melody" bit in the title, but sometimes it's the allure of simplicity that is most complex to accomplish. A steady 120 beat-per-minute shuffle, irresistible whistling melody, shyly nuanced synth line, and highly-charged vocal later, and you've got one of the best pop songs of all times glowing in its wake. This track has never really left the public's consciousness since its release in the early 80's, and only continues to stamp relevancy over modern culture with acts like Psychemagik resurrecting the cut into an extended disco monster for today's dance clubs. Out of the many songs the Talking Heads can claim as influential, "This Must Be The Place" undoubtedly tops the list in every way.
Zernell was born in Chicago and started DJing at the age of 14. This was during the early years
of house music and like a lot of Chicago teens he religiously listened to the Hot Mix 5 on
WBMX. By 1986 most of his friends where into the Disco/House music culture and his best
friend the infamous Mr. Gene Hunt was
RON HARDY’s protégé.
He grew up listening to the sounds of Ron Hardy
and was schooled by the master & protégé in the art of song selection and timing that drives dancers into a frenzy.
Zernell's Grimy style of music features some of the hottest and rarest disco songs and re-edits mixed just the right way to keep you dancing and wanting more, which has made him one of the hottest dj’s in the
underground dance scene today.
Zernell is consistently representing his Grimy style at parties in Chicago, Detroit,
New York, Miami and LA and has toured the U.K. and headlined parties in Paris, Switzerland, Sweden, London, Amsterdam, Italy & Berlin. Being a headliner at some of the biggest parties and top billed events over seas has put Zernell in high demand.
He has released frequent mixes on various websites such as Deep House Page,
Bring the Heat and Soundcloud which gained him attention & fans of music lovers across the globe.
Zernell's love and passion for disco/house is as strong as it was in the 80’s and out of that passion Zernell created the disco edit label Grimy Edits and the Chicago tracks label Grimy Trax
which have sold thousands of units worldwide.
Up next for Zernell is Crate Diggers record fair and after-party. He will be cohosting the event with Discogs on August 29th at White Owl Social club in Portland and Lot 613 in LA on October 17th.
Ask anyone who attended last year's Crate Diggers PDX and they are sure to talk about the after party. In particular, the DJ set from Supreme La Rock. The minute Supreme hit the decks, he had the at-capacity crowd charging the dance floor.
Attendees of this year's Crate Diggers PDX should plan on wearing their dancing shoes because Supreme will be returning! We caught up with Supreme earlier this summer for a quick Q&A. Read on to learn about this international DJ's take on all things music – including his profession, favorite tracks, and of course, Discogs!
Your website talks about the importance of maintaining the integrity and richness of authentic DJ culture. Can you explain what authentic DJ culture means to you?
Authentic DJ culture to me, means actually caring about the music, the sound, the selection and the craft of mixing. A lot of DJs download music and use bad quality files, play bad selection in their sets, and don't have any idea of timing or when to drop it. They don't understand the music structure. They push the levels into the red, use sync buttons, play pre-recorded mixes, and just dance around, etc. It happens a whole lot and it's really bad for numerous reasons. It's far from authentic.
Are there any pioneering DJs in particular that you look up to?
Danny Krivit. He does 100% what I just said authentic DJ culture is. He cares about the sound, knows how to flip solid edits of tunes, was around in the 70s and is still around today. He has solid selection skills and still digs for music.
Are there any new DJs out there that you would like to give a shout out to?
Four Color Zack. His creativity and way of thinking is next level. He is very clever in the way that he puts songs together when mixing.
Your busy schedule keeps you on the move! Do you listen to music when traveling to out-of-town events?
No. I barely listen to any music in my car or traveling. My life is and has been music for a number of years. I hear it at home all day then at the events I do all night. When I can get a break I take advantage of it. Silence is golden.
Can you name an artist or release you love, that would surprise most people?
Probably Kenny Loggins "This Is It". Super dope song to me. I love yacht rock. I dropped this at an outdoor party and the place erupted, they loved it and sang along word for word. I think it comes as a surprise because people expect something different from me. To me, there's only two kinds of music, good and bad. I don't want to be pigeon holed into a DJ that plays soul or rap. Disco is my personal favorite, but I also love house and other genres. At the end of the day, I DJ. My job is to rock parties. So I play a wide variety.
Last year, I noticed that you were one of the first DJs at the fair to start searching through all the vendors' crates. Can you remember anything that you picked up at Crate Diggers last year? If not, is there anything in particular you will be looking for this year?
Yeah, I'm usually there when the dealers are loading in. I was taught that the early bird catches the worm, so I stay on top of it. Last year feels like so long ago to me. I know I left with my backseat full of records, but can't recall anything in particular that I scooped up.
Do you go on Discogs? If so, what do you use the site for?
Do I go on Discogs? Uh, yeah about 23 hours a day! I'm serious too, even in the middle of my sets! I mainly use Discogs to find titles I'm looking for. I'm a buyer, not a seller, but I've also sold a few things I have excess copies of.
Discogs second annual Crate Diggers PDX is happening on August 29th at White Owl Social Club. This is a not-to-miss event if you are in the Portland area. Doors open at 12 p.m. Early birds can expect to brush elbows with Supreme La Rock as he flips through the crates. If you prefer to show up fashionably late, get some sleep and then get yourself to the after party which starts at 8 p.m.
I live in a world of manuals and marketing material. I block ads but I am the biggest collector of advertisements that I know. A hyper saturated universe of light, color and ideas. Some more empty than others. Some more vivid than life. All which painting a picture of truth that is as bleak as it is vibrant. Nothing and everything makes sense at the same time. All this and music too.
Love will keep us together. Love will tear us apart again. Love. Love Love Love. This must be the single most common subject of every pop song as far back as time goes. Emotions are unabashedly packaged for consumption by those who may never know the truth of the matter. Addictions get built on a hope of catching a glimpse of a truth one may never know or may not even exist.
I stand here, naked in word, clothed in fear. I have sheer admiration for the massive industry which no one person controls. No one person knows who created it or even why it’s here. It's a machine fueled by hopes and dreams. It's lubricated by blood and sweat. Leaving behind excrement and blood in its wake. I have climbed through the mire and endless chasms of mountains of cutouts and cash-ins. I have found the truth.
The truth is more than any one person could ever comprehend or even care to. Music is pretty cool though. Let’s talk about music. There’s a lot of it out there. I mean a lot. Pink Floyd and Led Zeppelin are cool, I guess. Who influenced the members of your favorite groups to make your favorite albums? Now, which groups or artists were influenced by them? Then think about, what artists or groups today are influenced by your favorite groups? Inspiration is all around. Go out there and buy some records or CD’s or tapes or whatever. Don’t let the medium fool you - As long as it’s not on 8-track, it’s probably okay.
There is such an absolute glut of media in the world right now. I have more recorded media in my house right now that I could listen to end-to-end over my entire lifetime. Then there’s books and movies, too. The path is so clear and so wide open. Everything that has ever been is now more accessible than it ever has been.
Go out there and share with the world what you have or go and learn what the world has to share with you. This is your homework this week. Thank you for your time and support.
When you're spinning, digging, or sitting back and listening, it might be difficult to consider any aspect of music beyond those wacky air pressure fluctuations. In the face of sheer volume level, what can the non-auditory world tell us about the songs we love? Well, let's be honest: quite a bit. Music doesn't exist in a vacuum. Every artist you've ever loved is more than just a frequency generator. You've gotta consider the social context. You've got to think about the message, man. And you've sure as hell got to give it up for the visual aspect of the sonic world.
When it comes to those visuals, fashion is about as important as it gets. Don't believe me? Think about your favorite artists. Put a picture of them in your mind right now. Regardless of genre, you're almost definitely thinking about a musician decked out in some concrete style ideal. Whether it's Miles looking as cool as the other side of the pillow, Jimi's extra-dimensional design sense, the Kraftwerk machine men de-emphasizing their humanity with sleek uniformity, or the everyman exterior that belies Chuck D's passionate rhetoric, the people who make the music you love are inextricably linked to the image they've crafted.
Enter Akepele Apparel. Veteran DJ/choreographer Trent “Renz” Barry started Akepele to combine a lifetime love of hip-hop, funk and soul with a drive to let music fans wear their devotions on their sleeves. Akepele has been covering tank tops, tees, beanies, and hats in record-centric designs for the past year. They're even converting turntable parts into fashion accessories.
Akepele's summer 2015 collection just hit the streets, with bright new “Ya Dig?,” “Golden Era of Hip Hop,” and “Needle Record Beats” designs giving props where props are due. Since the fine folks at Akepele are going to be digging right there alongside other vinyl fans at Crate Diggers PDX, we thought we'd get Trent's thoughts on the link between soul and style, as well as some tips on how to be nice to your DJ.
When and where did Akepele start? What convinced you to get your own business going?
Akepele started in Los Angeles a few years back. Well, the idea of
Akepele did, anyway. I have always had a love for music and fashion
and even toyed with the idea of a clothing line a few times, but it
never developed. While living in L.A., I found myself looking for
another outlet to be creative besides being a DJ. I took notice of the
boom in the market of independent clothing brands and played with the
idea again. Soon after, I reached out to my friend/business partner in
Portland, Jordan Croff, to talk about a few concepts. He liked the
ideas, and we both agreed one in particular was a great direction. I
then started making a “bible,” if you will, of ideas and inspirational
themes. Later that year, when I moved back to Portland, we took it to
the next level – created the name and locked down the web address and
social media handles. I had a 9-5 job at the time, so I spent my free
time getting Akepele up and running. Jordan was very supportive, but
he wanted to focus on other projects, so he gave me his blessing to
push forward without him. Once I was ready to push the “go” button, it
was full speed ahead and before I knew it, Akepele was here.
What's a typical day at Akepele HQ like?
Pretty much just lots of caffeine, responding to emails, networking,
promoting, and designing (not necessarily in that order).
What is it specifically about hip-hop, funk, and soul that inspires the team at Akepele? What role does fashion play in those genres, and how do these genres feed back into the fashion world?
Well, each of these genres inspires us in different ways. They provide
a soundtrack to a mood, emotion, nostalgia, or a statement. In
fashion, the same things hold true: a single word, phrase, image, a
certain style, or a pattern on clothing can spark a nostalgic feeling
of a memory, person, or era.
Take our “Funk Boogie Soul Disco” tee, for example. Most everyone can
relate or appreciate it. It provides a statement of an era of music,
shows a mutual respect to those who “get it”, and makes you think
about what funk or boogie or soul or disco music means to you. That
series of words, as simple as it seems, means so much to people
creating an unspoken unity.
Hip-hop and funk to me are kind of rebellious forms of music. Like
rock and roll, they are powerful and meant to be heard. This rebellion
could be in lyrics or in fashion where standing out and being seen is
a part of your brand and individuality. When you take an artist who’s
wearing a certain thing or wearing something a certain way, he or she
can make it seem cool and then, boom, you have a trend. It’s been like
that since I can remember.
Many artists have such a huge following or network that they are using
their fashion to make a statement, raise awareness, or support to a
cause without having to verbally say it. You see this even more so
now, with social media being a tool of visibility.
Who are some of your favorite artists that double as style icons? What makes their style stand out?
Andre 3000 from OutKast. I don’t necessarily dress like him, but I
appreciate his style as an artist and in fashion. His confidence makes
what he wears very cool. He’s an inspiring individual also. Justin
Timberlake carries a cool style, too: very fashion forward, and
translates very well with his music and overall persona. Back in the
day, when I was choreographing hip-hop shows we always found fashion
inspiration for our shows from Justin, Janet, Usher, etc. Each one
gives 110% to his or her craft while branding and reinventing
themselves to stay current. They are iconic to me.
What about musical fashion duds?
I am a huge BBD (Bell Biv Devoe) fan and Kris Kross was fresh (R.I.P.
Chris Kelly), but the pants backwards and inside out might be high on
the list. Before you ask, YES, I wore my pants inside out during that
era. [laughs] Back then I thought it was fun. Just like every era,
there are those fashion moments when we look back and say, “What was I
thinking?” But that’s what makes them so memorable.
What are some specific tracks and albums that move the folks at Akepele?
Oooh, this is tough. There are so many. But off the top I’d say: DJ
Quik - Quik is the Name and Stevie Wonder - Songs in the Key of Life.
Actually, anything by Stevie, Quik, the Native Tongues family,
Outkast, Brothers Johnson, Cameo, Whispers… you get the idea.
[laughs]
What can you tell us about Akepele's headshell necklaces? Are they fully functional?
Those are a very popular item. The idea for them came when I ran
across a pair of chrome polished headshells. Thinking fashion forward,
I thought they could make a cool piece for a necklace. I played with a
couple of different assembly methods, then had them sent out for
branding/engraving. Once we got them back from the engraver, they
looked so fresh that we had to produce a full run. Glad we did, too!
They are being sold all over the U.S. (and many are going overseas,
too).
They have been modified to fit as jewelry but could easily be
disassembled and adjusted for play.
Your 'No Requests' shirt is brilliant. Any stories about play requests gone wrong, or is that just a general statement of DJ solidarity?
Another popular item for us, thank you!
Generally, my peers and I practice the “No Requests” policy.
Obviously, there are times when it is acceptable, but requests (for
the most part) are just annoying. Many times it’s someone requesting a
song or artist that doesn’t fit either the theme or vibe of the night.
What’s funny is when they request the song/artist that is already
playing. But the most fun is when the dance floor is packed, and you
get “Can you play something we can dance to? Nobody is dancing!”
Moments like this are when it’s just best to practice “No Requests.”
Most of my peers are such music enthusiasts that there is no need to
request a song. You can just trust that they are going to play good
music for the crowd or party.
What are you all going to be looking for at Crate Diggers?
On the fashion tip, we are hoping to network and gain more exposure.
At the last Crate Diggers, we met some very talented people and still
stay connected. So many music loving people collected in one venue is
so inspiring.
On the music tip, last year I scored big and filled some holes in my
funk and hip hop crates. Definitely looking to do same this year.
What kind of experience do you have with Discogs? Any notable finds? What are your favorite/least favorite features?
Discogs is great. It’s been a huge resource for myself and for members
of my team. A notable find recently was a remix record by A. Skillz
that I have been searching for quite some time, Insane Bangers Vol 6. Finally, one copy
showed up on Discogs and I snatched it up. That Al Green remix was bananas.
A favorite feature would be the “search.” The site is set up so nicely
that it provides multiple search combinations for locating what you
are looking for, such as the label, year, and genre, etc. Not to
mention all of the detailed information provided, like the track break
down on records or discs. You know exactly what you’re buying. Number
one music resource.
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If you're hoping to find out more about Akepele, check them out online at www.akepele.com. If you're in Portland, you're always free to stop in at Future Shock (1914 E. Burnside) to see their tees in person. Akepele is also doing free giveaways all summer, so get involved on Facebook, Twitter and Instagram for the details. And if you're going to be at Crate Diggers PDX, stop by to let Trent know that inside out is definitely wiggity-wack.
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