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therucrap · 3 years

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RPDR 13 Episode 1 RuCrap

Hello dear internet! I just started a new page for my first ever RPDR RuCrap so please share and follow and I’ll continue if they catch on! Hope you enjoy!

The lucky 13th season of RuPaul’s Trauma Spectacular launches with the promise of “all new surprises” and a brand new twist that will leave you wondering how you ever sat through a boring old premiere with a coherent intro, climax, and conclusion when you could be enduring a dizzying hour and a half of WOW presents Happy Death Day 3: Covid Edition!

We open up on the trusty trauma center - I mean Werk Room - and the first to enter is NYC’s “Dominican Doll” and human drag lingo See ‘N Say Kandy Muse in an elaborate bejeweled patchwork jean mini dress and MATCHING DENIM BOOMBOX and she immediately informs us that we may know her from the now former Haus of Aja which was recently deconstructed like the pair of Wranglers that Kandy is wearing as fingerless gloves. Kandy is no longer alone in VIP because the befeathered Joey Jay arrives and half-heartedly delivers her intro line. “Filler queen!” We discover that Kandy is likely going to provide our Greek chorus confessional this season and all in a soft smoky eye when she informs us uncultured swine that Joey is wearing the cheapest variety of feather - chicken. Kandy didn’t construct an entire outfit from the remnants section of a Joanne Fabrics and not learn a thing or two about quality, sweetie! Joey is determined to beat viewers to the punchline and immediately clucks around branding herself as “basic” and “filler.” Joey is from the city of Phoenix (and possibly the online University as well) but she’s here to rise like a chicken!

Thunder mysteriously rumbles as RuPaul appears on the digitally enhanced Werk room TV but what could this be?! For all you newbies this is one of the several instances in every season where Ru mixes things up and gives us what we really want: a twist that is equal parts confusing, fucks up the natural order of the competition, and is ultimately unfulfilling! Come on season 13, let’s put a bunch of queer people through even more turmoil in a pandemic! Ru has a surprise but they’ll have to head to the mainstage to get the full story that they’ll be recounting to a mental health professional later!

We’re merely four minutes in and here comes Ru down the runway dressed like a glitterdot jellyfish! Our tour guide on Trauma Island introduces us to the main panel of judges for the season - Disco Morticia Addams and the two human Trapper Keepers who are now separated by glass because for the first time in Drag Race herstory we’re in the middle of a international health crisis, mawma!

Now let’s get down to trauma! Ru explains that the queens will be pairing off to lipsync unexpectedly as they enter! What could possibly go wrong? Well if you’re hoping that someone comes in wearing blades on their feet well just stick around because I have quite the treat for you! Our Dungaree Diva and the Chicken Feather Filler hit the Mainstage looking as confused as Shangela researching CDC protocol on her way to Puerto Vallarta last week. The judges interview our test subjects and immediately bring up the Haus of Aja and Kandy clarifies that she’s now an esteemed member of The Doll Haus along with last season’s ever-gorgeous Dahlia Sinn. I personally prefer not to say that Dahlia was eliminated first but instead that she was season 12’s brocco-leading lady! (Writer’s note: if you’re thinking “there’s a drag show called The Doll Haus in my hometown... is it THAT Doll Haus?!” No, there’s a drag show called The Doll Haus in almost every city in America but now, like with the former Sharon Needles, Kim Chis, and Penny Trations of the world, this one’s been on TV and alas, the others must now rename themselves)! Joey also charms the judges with her plucky demeanor and it’s already time to lipsync feather they like it or not!

Gay anthem Call Me Maybe by Canadian legend Carley Rae Jepson begins and Kandy immediately pushes a fake button on her DENIM BOOMBOX to start the party. Honestly... crown her right there on the spot. We will ALWAYS give points for prop work and the Carrot Top of the Bronx does not disappoint. Both are energetic but it’s The Dutchess of Denim who wins by infusing humor and our feathered friend is given “the Porkchop” but before we can even wrap our head around what this means for the state of the competition we snap back to the Werk Room to meet our next unsuspecting victims!

Now dear reader, this is the part where I’m just going to cut the shit. The set-up they’re selling us is that the losers of these premiere lipsyncs will be eliminated from the show but they are obviously not about to Porkchop half of the cast on day one so just stick with me while we suspend disbelief and go on RuPaul’s Totally Twisted Trauma Adventure as she convinces 6 gay people who just spent upwards of $10,000 on clothing, jewelry, and hair and then meticulously packed it into regulation suitcases to travel here during a pandemic after probably not making any money for the last four months (this was filmed in July) that they are going home on day one! This herstory-making twist, like so many before it, exemplifies the show’s worst qualities: a lack of empathy for its contestants, an underestimation of viewer intelligence and ability to decode heavy-handed editing witchery, and its love for completely dismantling its own format every year for the sake of drama. Whatever keeps the Emmy’s coming, baby! When you’re on the other side of one of these twists you usually feel like you just finished your morning coffee only to find out that the barista gave you decaf. Your mind will be blown when it’s happening but the payoff is usually at the expense of the show’s own legitimacy. With that said... this is the punishment we come to gleefully endure every year and we’re not here to complain, we’re here to watch gay people break down, dammit!

It’s deja Ru all over again as we snap back to the Werk Room where Chicago’s Denali walks in on ice skates and immediately ruins any chance of a deposit return for the bumpy, rented roll-out vinyl floors and declares “Let me break the ice!” She’s wearing the expensive feathers that Joey Jay didn’t spring for. Denali might not be the first ice skater on Drag Race but she’s the one I didn’t watch shit on a dick on Twitter last week so let’s give credit where it’s due. Ugh I wish Trinity the Tuck could block THAT from my memory! Next up is Atlanta’s Lala Ri whose white blazer, body suit, and unteased hair is immediately called basic by an icy Denali in confessional. Denali is confident but we know something that she doesn’t and Lala is wearing a sensible dancing ankle boot not two blades on her feet so let’s see how this turns out!

The lipsync song is “When I Grow Up” by Nicole Scherzinger and her assistants who were accidentally given microphones a few times! Denali struggles to conceal her wayward nipples during some ambitious dance moves and all while in skates but Lala gives us a good old fashioned drag performance and a big finale split unbothered by an elaborate costume and ultimately ices Denali who signs off with “Feeling icy, feeling spicy!” Asking these queens to lipsync upon entering is one thing but asking them to improvise their exit lines 10 minutes in is just cruel!

Denali heads backstage devastated where SURPRISE... Joey Jay is sitting alone in a sad room made of plywood walls featuring a bunch of pictures of first eliminated queens, an ominous “Porkchop Loading Dock” sign, and some cocktail tables with no cocktails (how dreadful).

Before we get the full picture and God for bid our bearings on Mr Charles’ Wild Ride let’s leave this plywood hellscape and jump back into the familiar comfort of the Werk Room’s pixelated neon pink faux brick walls where LA’s modelesque Symone stomps in wearing a dress made of tiny Polaroids of herself. She’s stylish, her energy is fresh, and she’s clearly one to watch. Then dear reader life as we know it changes. A breeze comes through the room and God herself blesses us when living legend and matriarch of the Iman dynasty Tamisha Iman from Atlanta arrives in a pointy-shouldered red power suit and proclaims to us simple townsfolk “Holler at me, I know you know me. Holler at me, I know you know me. Tamisha is here!” The sea parts, the crops are replenished, and all war stops on Earth. On stage Tamisha reveals that she’s been doing drag for 30 years (which seems like a long time to us mere mortals) and that she was originally cast last season but was diagnosed with colon cancer two days later and had to stay home for chemo. The lipsync gods wisely choose The Pleasure Principle by Janet Jackson and Tamisha gives us exact Janet arm choreo while Simone is sultry yet commanding as she shakes her Polaroids. The judges determine that Simone was picture perfect and American hero Tamisha Iman is sent to Porkchop’s Shipping Crate of Horrors to join the nest with the fancy feather option and the chicken feather option.

We begrudgingly crawl back onto RuPaul’s ever-circling carousel of doom and plop back into the workroom where accomplished LA celebrity makeup artist GottMik stomps in wearing a wacky toile dress and a full face of white makeup declaring that it’s “Time to crash the system!” GottMik is Drag Race’s first trans man contestant (and first knowingly cast trans contestant at all) for which we cheer excitedly and then immediately look at our watches because that took too long. Next up Minneapolis’s towering Utica wriggles in with a sneeze and declares “She’s sickening!” which is just the pandemic humor I came here for! Contaminate me, mom! This gay scarecrow is wearing a series of crazy patterns and a big strawberry on her head and the two of them appear to be from the same traveling circus. These two Big Comfy Couch characters slink over to the main stage where Utica explains that her cranial statement fruit symbolizes tackling obstacles because she used to be allergic to strawberries as a kid but she grew out of it. In RuPaul’s heavy universe of heart wrenching struggles that contain chronic illness and societal rejection, Utica’s animated world that suffers only of outgrown childhood strawberry problems is a welcome one. These two lanky rag dolls will be lipsyncing to Rumors by her majesty Lady Lohan of Mykonos and the vibe is instantly wacky. I wouldn’t say that either of them are the next Kennedy Davenport but they did complement each other well on the invisible obstacle course they were both miming through. Utica’s hair flops over her eye, there’s galloping and floor humping, GottMik does a split, there’s elbows and knees aplenty, and all that’s missing is dancing poodles. The judges are tickled by the kookiness of both of these human windsocks but Gotmikk snatches the win. Neither of these two are going to win So You Think You Can Dance but luckily this is RuPaul’s So You Think You Can Trauma so we’re in luck!

Our homosexual Groundhog Day continues back in the Werk Room where we meet NYC’s Rosé who gets the Brita treatment where she’s presented as a legendary New York queen and then the editors quickly get to work making her look delusional. She’s accomplished, confident, and Drag Race’s favorite personality type to dismantle and then trick into returning to All-Stars for a redemption only to dismantle again. Rosé’s fresh-faced foil Olivia Lux enters and lights up the place right away in a velvet pink and yellow gown. She’s a humble NYC newby who has competed in shows hosted by the established Rosé and we already know what’s about to happen here. The lipsync is Exes and Oh’s by Elle King which which was a choice. Olivia strips off her gown to reveal a bodysuit so she can really articulate and Rosé does the world’s least exciting split that looked like me trying unsuccessfully separate wooden chopsticks. Olivia triumphs and Rosé fizzles as she heads to the It Didn’t Werk Room aka Porkchop’s sparsely decorated storage closet to be with the other Have Nots.

We’re almost to the finish line and we limp, slightly disoriented, back to the Werk Room where we meet Tina Burner, another NYC theater kid with the confidence of a thousand Patti LuPones who is dressed like a Ronald McDonald firefighter. What she lacks in nuance she makes up for in nonstop fire puns. Next Chicago’s glamorous Kahmora Hall saunters in glowing and is clearly unimpressed with Tina’s constant Joan Rivers impression but maintains a full pageant smile. No choice but to stan. Our final queen is the refreshingly optimistic Elliott with 2 T’s who busts in wearing a bolero jacket, some red pants from the store, and a short pink wig that screams “Sorry I’m late! Here’s my flash drive! I can go on whenever!” Elliott dances in sing-talking her entrance line like the TGIFriday’s server she is: “I’m the queen you want to see. Elliot with two T’s. Okay! Uh uh uh uh uh uh uh uh! Okay!” Elliot is a dancer from Las Vegas and has the unhinged camp counselor energy of someone with snacks in her purse at all times.

On the Mainstage Tina cycles through the last of her introductory fire puns and tells the judges she was in a boy band which honestly tracks. Tina and Rosé share a similar NYC gotta-get-a-gimmick energy but for some reason production has decided to give Rosé the womp womp edit and Tina the superstar edit. The song is Lady Marmalade because we haven’t been though enough and Kahmora serves subdued sexy glamour, Elliott does the splits, and Tina bobs and weaves between the two with full play-to-the-back-row comedy queen energy. Tina extinguishes the dreams of the other two and RuPaul sends the final two losers to the chokey.

The worst is over (we think) and our frazzled cast of hopefuls finally gets to know eachother in their two very different groups. The winning queens in the Werk Room are celebrating and as blissfully unaware of the doom around them as Miss Vanjie and Silky Ganache at a Puerto Vallarta circuit party during a pandemic. Over in Porkchop’s Junk Drawer the camera looms unnecessarily close to the crestfallen losers’ now disheveled wigs and sweat drenched makeup. Ru’s voice bellows over the speaker to tell this motley crew to get out and then as the last bit of light leaves their weary eyes she checks back in to tell them that she wasn’t serious! Oh good! Finally a moment of mercy for these once hopeful queens on their first day of RuPaul’s Wipeout! She then reveals that the full twist is that she is only going to send one home but they have to vote amongst the group of losers to decide who it is! Yes, that’s correct! This group of broken queens who just met and mostly have never seen eachother perform will now be expected to turn on eachother and give up their last bit of dignity to either grovel or just straight up fight with eachother! This must be what the Donner Party’s last night looked like. The queens look around broken and wounded but still hungry, their eyes barely open, their lacefronts only partially attached to their heads, and start deciding which of their own is about to get consumed. Her highness Tamisha Iman reminds them "Well, I'm the only black girl so don't vote me off” and just like that we are TO BE CONTINUED!

Thus concludes our first headspinning episode that despite being reliably frustrating has once again sucked us in and against our better judgement entertained us to the fullest! As for our 13 queens- you can use code HERSTORY on Talkspace while relaying tonite’s events to a sickening liscensed therapist!

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ladystylestores · 4 years

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BET Awards Celebrate Black Designers, Stir Calls for Fashion Change – WWD

https://pmcwwd.files.wordpress.com/2020/06/claude-kameni-001.jpg?w=640&h=415&crop=1

There wasn’t an actual red carpet, but Sunday’s virtual BET Awards was an impressive showcase of Black style nonetheless, starting with host Amanda Seales, representing all Black-designed clothing, jewelry, hair-care and makeup brands, including a custom gown by Los Angeles-based rising fashion star Claude Kameni.

“We wanted to tell a story of Black creativity, pay homage to iconic moments of Black style, and amplify the work of these Black fashion innovators,” said Seales.

“The BETs are our Oscars, our Grammys, our everything, where we are able to show ourselves and have fun and show off,” said her stylist Bryon Javar of the 13 looks, using pieces from Pyer Moss, Romeo Hunte, Sergio Hudson, Sister Love, Brother Vellies, Grayscale, Bishme Cromartie, Dapper Dan-Gucci and more, and paying homage to iconic moments in Black style history, from Hilary Banks’ Nineties power wardrobe in “The Fresh Prince of Bel-Air” to Janet Jackson’s fierce “Rhythm Nation” outfit. “It made sense for this moment to celebrate Black everything,” Javar said.

Seales’ regal, off-shoulder, high-slit gown was custom made by Kameni, whose Lavie by CK men’s and women’s label incorporates West African textile designs into body-enhancing gowns, sundresses, jumpsuits, blazers, shirting and soon-to-be-released swimwear. The look was a nod to the 1988 film “Coming to America.” And in a full-circle moment, Kameni will have clothing in the sequel “Coming 2 America,” due out Dec. 18, with costume direction by Ruth E. Carter.

“I really hope, as other awards shows start to come back, we will see more Black designers represented — not just when it’s convenient,” said the self-financed Kameni, 26, last week at her Hollywood home office, adding that she hopes to show her collection in New York in September, and one day sell at Nordstrom.

Alicia Keys performed in a sleek black coat, bra top and jewelry sourced from the Slauson Swap Meet, the legendary South Central L.A. style and shopping center. “It’s a look of strength and mourning with a nod to Angela Davis,” said her stylist Jason Bolden.

And sisters Chloe and Halle Bailey rocked custom sexy-sporty black vinyl and white utility looks by TLZ L’Femme, styled by Zerina Akers, who also promoted the small, experimental Black-designed L.A. label on her All Black Everything list “to celebrate companies that might not have access to certain markets or get the visibility their products deserve.” The list was shared on her client Beyoncé’s web site on Juneteenth.

Besides serving up Hollywood’s first mega-fashion moments since the pandemic, the 20th annual BET Awards were an opportunity to reflect on what could be for inclusion in fashion and celebrity dressing if Black designers are considered as a norm, not just for the moment.

A custom design by Lavie by CK for Amanda Seales. Courtesy Photo

In the wake of the racial equality movement sparked by the killing of George Floyd, several initiatives have recently launched to advocate for more Black representation in fashion and support Black fashion professionals — the Black in Fashion Council spearheaded by Teen Vogue editor Lindsay Peoples Wagner and p.r. specialist Sandrine Charles, with more than 400 members; the Black Fashion and Beauty Collective for glam squads started by stylist-designer Jason Rembert and hair stylist Lacy Redway; the Kelly Initiative petitioning the Council of Fashion Designers of America to hold the industry accountable; the 15 Percent Pledge from Brother Vellies designer Aurora James asking retailers to buy more Black brands, and Akers’ All Black Everything list.

But much of the disparity comes down to economics. (BET founder Robert Johnson, for one, recently made the case for the U.S. government to pay $14 trillion in reparations for slavery.)

Without the same access to capital, Black designers have difficulty establishing and maintaining their own brands, garnering attention from legacy media titles (including WWD), and competing in the high-stakes red carpet game, which is typically dominated by luxury brands with the money to grease the wheels with payouts for managers, stylists and celebrities themselves.

“It is about investing in independent Black brands and designers. And it’s not just incumbent on Black investors. It’s incumbent on those who invest in fashion period,” said New York designer B Michael, who in 2019 became the first Black designer to dress an Oscar winner — Cicely Tyson — a fashion milestone that wasn’t covered by the mainstream fashion press.

Cicely Tyson and designer B Michael at the 91st Annual Academy Awards in 2019. David Fisher/Shutterstock

Even when Black designers do dress celebrities for the red carpet, some say their accomplishments are overlooked.

“I designed at least four or five Oscars gowns for Samuel L. Jackson’s wife, LaTanya Richardson, and she said my name on the red carpet, but I never got the print,” said Los Angeles designer Angela Dean, who has been working since the Eighties, including a stint at Trashy Lingerie, where she created a cone bra for Madonna that preceded Jean Paul Gaultier’s but has not gotten the same recognition. In 2019, Dean cofounded the Black Design Collective to bring attention to bygone talents such as Ann Lowe, who created Jacqueline Kennedy’s wedding dress, and create opportunities for new talent.

On the red carpet, the rise of the celebrity stylist in the 2000s has been a blessing and a curse for inclusion. “When we started out, designers would dress stars, and make millions of dollars from the exposure,” said Dean. “Then it got to where brands started paying [stars], and paying the stylist to get the stars, and I wasn’t in that grid…Stylists were making $6,000 a day, they became bigger than the designers.”

“Stylists are drawn by the companies that have the economic power to attract them…the same companies that have the money to hire social media influencers,” said Michael, whose custom design house is in the process of developing a new ready-to-wear collection. “You have to have Black businesses that are successful to really create change.”

But for younger Black designers, social-media savvy stylists have been a gateway to success outside the fashion system.

“She found me by my going viral,” Kameni said of stylist Karla Welch discovering Lavie by CK via Instagram, and reaching out for a custom dress for Tracee Ellis Ross to wear while hosting the 2018 AMAs. The style is still the brand’s best-seller. (Welch did not respond to a request for comment about the label.)

Tracee Ellis Ross wearing Lavie by CK at the American Music Awards in 2018. Matt Sayles/Invision/AP/Shutterstock

“You don’t have to depend on print and advertising if you have Instagram and dress JLo, but the struggle is still there. We may get the red carpet, but we don’t get the stores or the backing. And we don’t get respect from the industry,” said L.A. designer Sergio Hudson, who had his first show in New York in February, and has dressed Jennifer Lopez, Michelle Obama, Amy Poehler and more in his sleek, modern designs. “I’m an American sportswear designer going for the same client Michael Kors and Oscar de la Renta are going for, but when you enter that genre, there is a door closed.”

Some Black creatives are bristling at the sudden industry and media attention — often showered on the same group of people. “It feels very token. The CFDA has their picks — this is the cool designer, this is the cool organization,” said Hudson. “I’m tired of the popularity contest in fashion. It’s old and dried up.”

Amy Poehler in Sergio Hudson at the 2020 Golden Globe Awards. NINA PROMMER/EPA-EFE/Shutterstock

“I have put clients in a lot of things by Black designers, but it’s never been deemed important,” echoed Bolden, who works with Yara Shahidi, Ava DuVernay and Amandla Stenberg, among others, adding that as a Black stylist, he has not gotten the same opportunities either: “I have had managers and p.r.’s say to me, ‘I thought you only styled Black people.’ My name would never drop down when they were looking for someone for Cate Blanchett,” he said. “It’s not just our problem.”

Law Roach agreed, urging his white stylist counterparts to step up to hire and nurture Black assistants, and speak out beyond hashtags about how they are going to make the fashion industry more equitable. But he also acknowledged he has been “part of the problem.”

“I have made it part of my career, and gained some recognition with Zendaya, to find and help elevate smaller brands, most recently with Christopher Esber and Peter Do,” said Roach, who was part of the high-profile, two-season Tommy x Zendaya collaboration with Tommy Hilfiger. “In hindsight what I’m ashamed of, and heartbroken about is that I didn’t focus that energy toward African-American designers. That was me not paying attention, and not working as hard at shining a light on businesses that look like me.”

Now, in true Hollywood form, the “America’s Top Model” and “Legendary” judge wants to turn shining a light on Black brands into a TV show. “I’m not busy right now!” said Roach.

Amazon, Netflix, are you listening?

Law Roach and Zendaya in Tommy Hilfiger at the Met’s Costume Institute benefit celebrating the opening of “Camp: Notes on Fashion” in 2019. David Fisher/Shutterstock

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vinylexams · 5 years

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Dramathan - Into the Pink

I’m VERY excited to make this post because if you’ve been following VE for a while, you’ll recognize it as one of the only albums I’ve used this platform to help fund-raise to see it get pressed! Dramathan, or Jonathan as I know him, has been making noisy, DIY bedroom rock for a while now and Into the Pink is a big ol’ hunk of album with an even bigger story behind it. I won’t tell the story on his behalf, since there’s a pretty meaty interview waiting for you on our main website, but this album has a lot of backstory. Musically speaking, it’s really catchy pop-minded indie rock. It’s a little crunchy, it’s a little shoegazey, and it reminds me of the best-of-the-best college rock bands back in the mid and late 90s. Now, what’s even more exciting about this post is that it serves as your official heads up that I’ve also had a chance to interview Jonathan himself about this album and I’m including it in its entirety below the link to listen for yourself!

https://dramathantheband.bandcamp.com/album/into-the-pink

INTERVIEW:

Hi Jonathan! I’d love for you to tell us a bit about the album’s story and what you want us to know about the great music you’ve written here.

First of all, thank you! Not only for today, but for being one of the early supporters of this album. I’m aiming for brevity on this one because I know I have a lot to say! Into the Pink is my sophomore follow up to California Magick, both released on Kerchow Records. It is an album I wrote and recorded in its entirety all by myself. It documents these past couple of years full of love, death, redemption, depression,fame, triumph, fame, and a life changing cancer diagnosis. Jayne Mansfield’s Pink Palace was the inspiration for the title and thought of moving into the house of love. The remastered tracks are on Kerchow’s website and were the tracks used to press my new vinyl on pink wax! The vinyl can be purchased only through the Dramathan bandcamp.

Dramathan is a play on your name Jonathan, so tell us a little about that!

Like a lot of teens everything I experienced was just the end of the fucking world, a real costume drama. But in my defense my childhood was full of drama/trauma not completely of my own making. Yeah, I did wild things and was a chronic runaway. But what was I running away from? That’s the real question! But I digress. The short version is one day my mom called me that, it was funny and it just stuck. She was the only one who called me that for a long time. It’s in the Urban Dictionary and they describe it as “an over dramatic gay dude” (which I may or may not had a hand in coining) but I think of it more now as queer who puts an end to the drama and cuts through the bullshit. It’s a bit strange having a band name or persona that’s actually ridiculously personal. That’s kind of a running theme in my life. I mean, if you see my IMDB I play myself on The Fine Bros. React channel on Youtube. I’m lucky to have it though. It’s a name that really allows me to play to my moodiness musically and doesn’t pigeon hole me to a specific sound. Plus, It’s really the only good word play you can do with my name besides “Jon Not Thin” which is my IG handle, so there.

I shared a link to your GoFundMe page earlier this year to raise money for this pressing and also to help support your mother who is undergoing treatment for cancer. How has that campaign worked out?

In terms of funding, great. In term of community, it worked out better than anything I could have hoped for. I always thought I knew who my community was, but who it actually consisted of…well.. .that was a bit of a rude awakening. People that I supported by showing up to their shows, donating money to, or by lending my name to their events were nowhere to be found. That was until the buzz around Into the Pink started! It was fans of music not fame that lifted me up from its inception. There are so many people that claim to be supporters of poc-lgbtqia+-artists, so evolved in their inclusivity, but really are hypocritical or just surfing the trend for likes and followers. And these are things that shouldn’t be made trendy, because the problem with making them trendy is that trends go out of fashion and we are here to stay! These are real fucking people! The truth is people like me have to work twice as hard to get half as far in this industry. My therapist would say “thoughts are things” and ask “Is this a narrative you’ve created?” To that I say, ‘Yeah , thoughts are things and people can create a narrative, but reality is a thing too!’ And the reality is Into the Pink is album that was created on the island of misfit toys. It doesn’t really fit into one genre and there are people that get it and love it! Yes, I am aware that the story behind it resonates with a lot of people, but it wouldn’t be doing this well if it wasn’t a good album. Here is where I show my hubris. The people who funded it know the back story, but the majority of people buying the vinyl don’t. They want the music!!! I recorded this album all by myself, zero budget and on a phone! A damn phone, Nate! I had this one review where a sound engineer critiqued Into the Pink. Not a rock journalist mind you, but a sound engineer. They said things like “…not more than fuzzy guitars, drums and vocals…” well that’s what I had to work with! There was no producer and no studio! I love the Pixies but I’m not trying to be the Pixies! (another thing he threw out there, there are even references to the Sex Pistols which shows his musical pool to pull from). Black Francis isn’t recording in his bedroom in between taking his mother to chemo. I did win him over though and at the end he recommended it. A fucking sound engineer! He said I did “a remarkable job with the tools he was working with” and that all my songs were “catchy” a term I used to hate but now embrace as one of my strengths. All this is extremely important for any artist to know (esp. marginalized ones) and I’m not afraid to speak on these things and really show my seams, because I want people esp. queer or people of color to know it’s hard, but also know that they can do it!!! So many people finally get through the door and get a seat at the table in this industry. But then they shut the door behind them, barricade it! Because they feel like there isn’t room for anyone else. FUCK THAT! I’m all about breaking down that damn door and holding it open for others like me. I mean… the cream rises. You’re only afraid if you don’t have the goods. So, now I keep my circle tight, but right. Many of the campaign supporters were friends of React or Reactors themselves (Trudi, Ary, Faith and Jason). The trans community really stepped up and friends that know my mother. They know my mom has spent her entire life helping people, fighting for gay/equal rights by being part of ACT UP, a Brown Beret who helped raised money for communities where people couldn’t pay for their families’ own funerals, and a social worker who always went above and beyond as an advocate for the people she was assigned to. It was time to give back to the woman who had given so much all of her life.

If it’s not too forward, how is your mom doing? I know we’re all sending her lots of good vibes and thinking of her as she goes through treatment!

It’s rough. I didn’t know that the heart could break so many times in a day. How many times until it’s just broken, ya know??? Some days I hear my mom’s very distinct laugh and I am so grateful for that day and then the next moment I find myself frightened I might forget it someday soon. I want people to know how hard it can be so they cherish every moment with their loved ones without being a total buzzkill. I live my life pretty publicly/authentically, but I can only tell my side of it. I will say she’s a fighting and kicking ass, but for once I wish things could just be easy for her.

Tell us a little about you, the musician.

Well… I’m an autodidact. Before I got into punk I listened to a lot of female R&B groups, oldies and those old school Jamz like “Lookout Weekend” by Debbie Deb. My mom played a lot of Pat Benatar, The Cars, and Janet Jackson around the house so I learned a lot about hooks from those artists, at least early on. But I picked up on how to write harmonies from bands like Veruca Salt not the Beach Boys!

What is your approach to songwriting? Who do you credit as some of your biggest influences?

I’m a fucking workhorse when it comes to music! For every song on this album there are at least two others that didn’t make the cut! I will put out shit song after shit song until one feels right. (I shouldn’t say they were shit, but just weren’t up to my standards). I don’t wait for a muse to show up and guide my hands “Ghost” style. Sure, I get inspired, but I need to write and love doing so. This time though I stepped it up, I knew that I needed to write something people would buy! That’s the harsh reality of it. I still create without an audience in mind with the exception of a younger me. Growing up I always wanted to hear songs about boys loving boys, magick, poc, etc. So, I create what I want to see more of in the world and share personal experiences in hope to lessen others’ alienation. I also didn’t listen to any music while writing this album! I did have a vision board that had pictures of Deborah Harry, Debi Martini (whom I dedicated the album to), Jayne Mansfield and Patti Smith. Also, a list of bands I love including: Hole, Huggy Bear, Red Aunts, Helium, Julie Ruin, Free Kitten, Kaito, Veruca Salt, Slant 6, Frumpies, and L7. It was less a vision board and more of a reminder. Like REMEMBER WHAT YOU LOVE LISTENING TO and WHY! Hole will forever be my number one influence, I think Courtney Love is an underrated lyricist even if a vast amount of people think she is an overrated anything else. It’s funny because I grew up listening to noise bands, red aunts, but what comes out of me is this weird alt. pop! I mean, I don’t know many noise bands with bridges and a hook. Go figure!

If you got to collaborate with one famous musician or band (alive OR dead), who would it be and why?

Patti Smith, but what would I bring to the table??? She’s a Poet laureate! I would just prostrate myself at her feet.

What made you want to press this album on vinyl and how did you get connected with your label, Kerchow Records?

That was always the goal from day one. As a collector, why not my own wax? I read somewhere that on a digital format your ear/brain can get tired of the fixed sound. On vinyl it’s forever changing in the most miniscule of ways so it’s harder to tire of. We did do the cassette tape first because we weren’t fully funded and time was of the essence. The tracks weren’t mixed to my liking (my doing) but, I didn’t know how long we had with my mother. So, we released it just so my mother could see a tangible product. Not to mention Kerchow is famous for putting out tapes so I am honored to be their first vinyl release. I know they did one before, but it was combined label release with two other labels. Into the Pink is their first solely Kerchow vinyl. I first met Nick Dolezal in Fresno through my then boyfriend, Taylor Rosario-Price. Fresno is one of my hometowns. They have some of the best and worst people you will ever meet. Nick of Kerchow is one of the good ones. That is also how I met the brilliant Damaris Paz who made my vision for the cover come to fruition. All are amazing musicians/artists in their own right. I didn’t think they would be interested in my first album California Magick, because like I said before, my style didn’t really mesh with what I heard from their label or any for that matter, but I believe he was intrigued by how I was recording the songs before he heard the songs themselves. I didn’t even think to shop demos around for Into the Pink. They believed in me before the Youtube success and I’m all about bringing people up with me. They believed in me from the beginning so I wouldn’t just do one release and leave… it’s called loyalty!

What does the vinyl format mean to you? If you’re a collector, how did you get started and what types of records do you like to collect?

I started in my teens with whatever I could find at thrift stores. “Sounds to make you shiver” was a good one and probably the scratched to hell “Rumours” by Fleetwood Mac (which I still have). It started with riot grrrl releases! There was a time when whatever Kill Rock Stars put out without question, without hearing it, I would just buy it, because I knew it would be amazing. I have an affinity for the female voices so the majority of my collection is that. I have thousands of pieces of vinyl. Not to sound to snobby, but I only buy NM or Mint vinyl now.

Do you have any white whale records that you’ve never been able to find?

I’m going to say something I never thought I would say but I pretty much have all the records that I want. I know what your readers are thinking ‘well there you have it he’s not a real collector’, not true! It changed throughout the years. When I was doing my tumblr 365 it was an og pressing of Live Through This, got it. Not to mention a white label candy heart promo copy of Hole demos and rarities. Then it was all about getting them signed. I have signatures by: Kat Bjelland, Mary Timony, Louise Post, Janet Weiss, Theo Kogan etc. I even got The Craft soundtrack signed by Rachel True. Believe me, there are still records I would like to have but I know where they are. I still need singles like LaVern Baker “Voodoo, Voodoo”, Donna Lynn “I’d Much Rather Be with the Girls”, April Stevens “Kiss me tiger”, and Betty Lavette’s “Witchcraft in the air” It’s a cash issue as I am sure it is with a lot of collectors. Also, there are records that aren’t on vinyl that I’m waiting for like, Frumpies “One Piece”, the Jawbreaker soundtrack, Juliana Hatfield’s “Made in China”, even Sheryl Crow’s self-titled album lol!

Last Question! What’s a bit of Dramathan trivia that you’ve never told anyone in print before!

Until this album I had never wrote songs about one particular person. Even if it’s an it’s a very devasting break up song or about a boy (usually a diss track) it’s always snippets of many different experiences tied together. I feel in doing so, like, when you compile many different experiences that feel similar it has a synergistic effect and a lot more people can relate. Collecting all the teardrops to make the tidal wave sort of thing. Also, I feel like if I were to hone in on one person I would destroy them psychically! One song in particular is about my best bruja Lily. Who in my darkest hour showed up in my dream and I did the same in hers on the same night. She told me I “dream jumped” and as an avid student of the esoteric believe she saved me both in my dream and in real life because I was really depressed.

Also, I mention Angelyne in the album because we met for coffee and she drove me around Hollywood in her iconic pink corvette (for free I might add) and while writing L.A. Water I kept the pink quartz crystal she gave me in sight.

#dramathan #jonnotthin #finebrothers #finebros #adultsreact #diy #indierock #surfrock #california #pop #kerchowrecords

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blkwidowsweb · 7 years

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Chicago Spotlight: A Conversation With Steve "Miggedy" Maestro

Born & raised in Chicago through two Belizean parents, Steve’s musical journey started at birth through osmosis. His journey marks are with vinyl, instruments and action. His humble musical beginnings included guitar & piano lessons & choirs until the Hot Mix 5 and Prince came into his life. Striving to do both produce & DJ, he started his professional DJ career spinning in Army base clubs on and off post while serving. He also played guitar, bass, keys & drums in many bands during his military career until he came back to Chicago. Steve landed a mix show jock position in the fall of 1993 on Chicago’s #1 station, WGCI. By mixing smooth blends of House, Old School, Hip Hop, R&B & Reggae, Steve quickly became a household name. Since then he has gone on to mixing for syndicated powerhouse Super Radio, Tom Joyner & Doug Banks, doing production & remixes for Steve ‘Silk’ Hurley, Joe Smooth, DJ Kool, Janet Jackson, Erick Sermon, Tyrese, George Clinton and Faith Evans. He started his record label, MMP Records, through another Chicago DJ Raphael, by selling his instrumental downtempo R&B tracks on CD for local dancers. Since then he has produced U.K. soul siren Julie Dexter’s full-length album, “New Again” on Ketch-A-Vibe Records, released the “Bop Padow” EP on Unified Records, “Happy Place” EP on House4Life Records and the Julie Dexter “Make You Dance” EP with Vick Lavender’s Sophisticado Records. It wasn’t until he released “Tribe Deep” on Void Digital Music when he met & partnered with Jerry C. King; CEO of Kingdom Music Digital Group. I recently had a chance to talk to Steve about his career as a DJ, Producer, Remixer, Radio personality and Label Owner. We had a chance to talk about his longevity, his thoughts on the music and the Chicago House Scene.

CONVERSATION WITH STEVE “MIGGEDY” MAESTRO

Black Widow: You grew up with music in the center of your life in a home where house music was always played, how did your childhood/teen years influence your love of music?

Steve Maestro: My thing was always music. If there was a choice between toys, clothes, or records…the choice was always music. My dad was the DJ/Music enthusiast in the family. He had all the records and as a child I used to scratch his records, I was doing that at a very young age. I was scratching up my daddy’s records, so you know I was getting my butt whopped! {Laughter}

Black Widow: You can’t scratch ya daddy’s records!!! [Laughter] So as early as you can remember it was always, music, music, music.?

Steve Maestro: Yeah man….I was getting my butt whopped and didn’t give a damn. [LAUGHTER] When my parents had their parties, I could put my daddy’s records back in their respective jackets and I didn’t even know how to read. That was at 3 years old! This wasn’t a hobby, it was my life. It was my destiny. Innately I think I’m a born entertainer. I would this artist, The Mighty Sparrow. He was the Michael Jackson of Caribbean music. I would sit on the hammock and imitate him. His voice was dynamic and what he sang about was so diverse. It was sex, politics, relationships and it was in my native language. I carried all that inside of me; the rhythms and such. My parents had such a diverse love of music. My dad liked Joe Crocker, Janis Joplin and my mom liked Dinah Washington, Bessie…all these dynamic people. You know you listened to what your parents listened to.

My parents put me in music lessons. I started guitar at 7, piano at 11, then I went to high school and prince came into my life.

Black Widow: You went to Whitney Young right?

Steve Maestro: Yeah…Yeah… It was right around, Prince’s album, “Uptown” I wasn’t just into the records; it was the artwork and the credits. I was fascinated with the credits. What was producer? What was executive producer? What was the difference between the two? When I saw that album and read that Prince did it all (write, perform, and produce) I was stunned. I started to learn how to play bass and then I also had a band called "Intimicii"; we were basically a Prince Cover band. I was learning music and DJing in high school. I’m practicing both. I was obsessed with it and would stay in the house making tapes. That’s how my cousins got my name out there. I was always in the house! I was inside learning music and the craft. My senior year of HS, I told my parents this is what I want to do. I knew it! From there I went to Roosevelt and did two semesters there and went to the army.

Black Widow: Why the army?

Steve Maestro: I didn’t see the point of going to school and learning what I already know. I was thinking instead of my parents paying for my education, I could do this, and learn a new skill. The 2nd thing I did at Fort Campbell was look for a DJ Job. I’m at a barracks and the club was right across the street. Because I had the music in me, I could break down house, hip hop, go-go, all the cuts. On Friday, Saturday nights it was my job! I was in the army being DJ GI Jack! I was in bands, Ding 3-4 times a week.

Black Widow: When did the radio work start coming in?

Steve Maestro: I came back to Chicago about 91, living at home and used my GI bill, went to Devry, then Columbia college, while working at Coconuts on Addams/Wabash for 2 years then a DJ told me about a contest where you could DJ along with Mike Dunn on WGCI. I didn’t think I had a chance. Its super clichés here and I wasn’t really part of one. I wasn’t going to do it but I’m glad I did because Elroy called me and said, “Hey you are kinda hot. Come down and do ya thing”.

That was the beginning of that chapter

You have to understand…I’m coming in without a crew behind me. Back then I didn’t know Pharris, I didn’t know Mike, I didn’t know Terry... I didn't know anyone. I come into the station. At first they didn’t want me to do house music. I came in doing hip hop and R&B. That was the first month then they let Mike Dunn go. You have to understand how that looked on me. At the end of the day, I gotta walk in these streets and it appeared as if I was the reason he was gone to anyone who didn’t know me. Mike and I had this distance for about 5-6 years because he thought I was behind it. I was in this position and I have to do what my boss says. The boss (Elroy) says, play Hip-Hop and R&B for 1st two hours, then house the last two hours but the streets got a hold of me and was like, “run that ole school”. So that’s what did, and they let me go…

Black Widow: OH WOW! Get outta here!

Steve Maestro: Yeah…for a whole week people in the city faxed letters to the radio. They had my butt back at work within a week. That’s how I was accepted. I was serving. Then Clear Channel came and wanted hip hop. So they were like screw house! You gonna do hip hop or you’re out. We did that for 3 years before they cancelled club 107.5. I had to do what I had to do. They made me show director but that’s just another word for supervisor. I had to review 4-5 other DJs mixes and do my own. Then Power 92 popped up and served the streets and filled that void that Elroy couldn’t at that time.

Black Widow: So you got caught up in the corporate bureaucracy. You are getting into the corporate red tape. That will kill your creativity.

Steve maestro: Yea and it kinda sucked the life out of me. I’m a producer/DJ/artist. You know I wanted to be like the Steve Hurleys, the Frankie Knuckles’…that was the plan. I was doing syndicated mixes for super radio doing R&B/Hip-Hop on one side and old school on another side. That was one hustle. Then Steve Hurley hired me to do work with him. I was doing records with him and from there started doing mixes for Tom Joyner. Then Doug Banks went syndicated and the first person he tapped to do mixes was me. So I was doing mixes for Doug Banks, Tom Joyner, Super Radio and WGCI. I was tired and still trying to get production done and DJing. DJ’ing was something I enjoyed but the producing was more serious for me because I equated it with more money. I knew producers were the ones who got paid and that’s what I wanted to do. But they kept me on the DJ thing forever and it got the point where I had to leave.

Elroy and I had a unique relationship. Back then I encouraged him to make radio sound like Chicago. Play our music…we taught each other a lot and were great friends. He even started to like house. He started to pay attention to the culture and you felt that during that time on the radio. He said play what they know then do your thing.

Black Widow: You talk about the transitions in radio. As a DJ on the radio, how did you balance what you wanted to do with what the station wanted?

Steve Maestro: You know back then I was 24-26, I did house and old school that was my lane. They let me do my stuff on Fridays and I did the lunch mixes and stuff during the week. That was my balance. Then Clear Channel came in and said screw that. At that moment, the 90s hip-hop was poppin, it was great for me! I could do all of that. But then some of the southern hip hop got popular and then I started to lose for it because I couldn’t relate to it. It’s no diss, it just wasn’t my vibration. I was enjoying that but I wasn’t enjoying the environment that came with it. It was a lot of that coming up in the clubs too.

Black Widow: now see, that’s when I was introduced to you. On the radio, when I was in high school. My connection to music was via the radio since I couldn’t go to the parties and such.

Steve Maestro: What I discovered is that I didn’t come in via the circle. Those clichés were inbred because of how everyone grew up. That was when black people really ran the Southside. We are grandkids and great grandkids of that. I grew up north, my experience was different but when I started talking to Pharris, Wayne, Mike, Terry, and when we started to understand each other it was all good. You know initially, no one understood me, I didn’t fit in. I wasn’t from where they were from. It wasn’t until I left WGCI and went to NYC, and came back to Chicago to 106.3 that Mike and I talked and I explained to him what happened and we cleared the air. It was so many other people who were feeding into that madness, people who didn’t like me, talking to him and vice versa…it was crazy.

Black Widow: That’s something isn’t it? When two people have a conversation?

Steve Maestro: I know! Exactly! There was always this thing between DJs, this divisive thing with Radio DJs vs Street DJs. I never understood that because I was just as much a street DJ as I was a radio DJ. I mean how do you think I got on this? [Laughter]

Black Widow: So now you are DJing and working on the radio, where did producing come into play?

Steve Maestro: I was always doing production. I was trying to find my lane and discovered it was R&B, steppers, and house. In 2009, I met Julie Dexter and we did an album together, then I met Jerry King, my business partner and that becomes the third leg of my journey. The artist/producer/label with him and the DJ thing in the streets. My goal has always been to be as diverse as possible. All races, colors…its money in all of that. I’m concentrating on the music; he’s concentrating on the business. We are both musicians and we speak the same language and it’ works. He’s my Jimmy Jam. It’s a true partnership. He’s my business partner. We strengthen each other with our different parts.

Black Widow: How were you introduced to House Music?

Steve Maestro: It was a natural progression. For me it wasn’t about a classification of music because of how I was introduced to it. I didn’t know what it was. To me, it was just my daddy’s music. I was always inquisitive; I would listen to Ralphie Rosario at noon and would listen to him every day. I wanted to know what this was. I started taping these and take the mixes to loop records and ask Jessie jones what is this? I already understood the art of looking for records because my dad would take me record shopping. My dad was so cold with it; he could look at the album cover and know it was a dope album! And Whitney young was a huge part of that too! Whitney Young was on the Westside but it was Southside all day long!

Black Widow: You are very open on social media in telling your story about your career and what you have seen and sharing your history. Why do you think documenting and telling our stories is so important, particularly with this genre?

Steve Maestro: Cause a lot of us don’t. I see what was done with rock, blues, and jazz. We created it, they labeled it. House included. I think now, I’m old enough to articulate it and give it to you in laymen’s terms so the young people can understand it. Don’t get it twisted; some young people don’t believe what’s out there is the only thing poppin. With the internet, all it takes is one kid who’s into something different to get a hold of what we are doing and spread the word amongst younger generations.

Black Widow: I’m glad you said that. You mentioned putting it out there in layman’s terms. In my experience, sometimes people have talked down to me in a way when talking about the history and I don’t think it’s done on purpose but it’s definitely a tone to it. Because I’m younger, because I wasn’t around during the 80s, etc. in their desire to tell me what it was like, they talk down to me.

Steve Maestro: People and their egos….I went through that for months in radio. I’ve learned that some people don’t like change and they don’t like accepting new people on someone else’s terms. People don’t understand you are exposed to what you are exposed to when you are exposed to it. You can’t penalize folks for not being born at a certain time! [LAUGHTER]

Black Widow: [LAUGHTER} I KNOW!

Steve Maestro: It’s also checking for the phonies. It’s like a hazing; trying to make sure you are real. You know we’ve caught some who front like they were in certain spots when they weren’t. You can be protective of the culture but you don’t have to be abrasive about it.

Black Widow: That’s the challenge we face now as the storytellers to younger generations…not to be so abrasive and to be more inclusive. This is why I bring my kids to certain kid friendly house events. I want them to see this…feel this culture. I want them to see people dancing, feel the energy, and not just standing on the wall hoping a fight doesn’t break out. I want my kids to feel the difference in the vibes.

Steve Maestro: Exactly! Yes it’s such a difference and they need to see that!

Black Widow: I read in another interview that you were a fan of the dancers. What makes them so important to the DJ and the party in your opinion?

Steve Maestro: There’s no party without them. You can have everything but if you don’t have dancers, you have no party. Everyone is important to the pie. People don’t get it, it’s not just the DJ, promoter bartender; it’s the people who come to the club. The dancers attract me more than anything. That ignites me more than anything. It’s not just trust in the DJs, it’s the dancers. I’ve seen people in wheelchairs do the spin move on a dance floor…you know?

I grew up in a family of dancers and my dad was DJ for our family unit. We would pile up in this small apartment with 30 adults and 20 kids and we had a ball dancing to my dad’s music and he had one turntable! It was people partying, drinking and talking shit. I had the party spirit in my blood already. At five years old, I would take over and put those records on while my dad was talking and I remember once my grandmother came over and put $5 in my pocket and said; now you’re a businessman. I don’t know why that sticks out in my head but it does. It stuck with me my entire life.

Black Widow: I love that!!! Those experiences and memories ….I have similar stories too. My grandmother would have parties at her house after she retired and she’d have all the dancers, jazz artists, and singers, musicians from back in the day at her house, partying, drinking and playing cards. I remember I was home from college at the time and I would be there making them drinks! My mom would joke that I went to school and became a bartender and a card shark! [Laughter] I would listen to the stories they told about their scene, the jazz scene. We learned how to party from them.

Steve Maestro: Yes! That was it…that was my dad.

Black Widow: It’s why I enjoyed those jam sessions at Alicia’s we would have, where my kids were there and they would see us relaxed and having a good time.

Steve Maestro: Yes I love moments like those. Kids love seeing grownups having fun! I know I did when I was a kid. I took all of those experiences in and I think because we are artists, we get to enjoy people enjoying themselves. That’s what we get to do; that’s the environment we create, people enjoy themselves while we do what we do.

Black Widow: What inspires you to create?

Steve Maestro: Life inspires me because I can’t do anything else. I tried. Working a job sucks the life out of you as an artist, at least for me. It’s about being fearless.

Black Widow: It’s interesting you mention fear because I tell people all the time; fear pushed me right into where I am right now. From being scared to share my work to what I’m doing right now. It’s crazy what happens when you stop fearing things.

Steve Maestro: What are you scared of? That has always been my thing. Once I got over being introverted; once I stopped being unafraid of what was getting ready to happen, it showed in the way I played. My wife too, she really was my bedrock to my creativity these past 8 years. When you have another artist who gets it, she saw more than my potential, she saw where I was going with this thing. She understood where this was going.

Black Widow: It’s nice when you have a partner who gets it!

Steve Maestro: Yes and she really fueled my creativity.

Black Widow: Any DJ Pet Peeves?

Steve Maestro: Ok, when I first heard music mixing on the radio, I remember hearing actual blends. A lot of cats don’t know how to blend!

Black Widow: It’s an art, I will stop me mid-dance! It’s a face I give you if I hear a train wreck! Having friends who are DJs taught me how to hear music differently. Now I’m more particular. Even now sitting in studios, my ear is being trained differently.

Steve Maestro: People always tell me “you spoiled me”…you know how many times I’ve heard that. [LAUGHTER] The longer you are around it, you start to see those differences and become more particular. People tend to get mad at that or say you are “riding” certain people...

Black Widow: Oh lord…yes! [Laughter]

Steve Maestro…That’s the people who don’t know what you’re doing. We get that so much. You have no idea! I remember Elroy saying when they really start hating on you is when they are tired of hearing your name. That’s the Chicago way. That means you are doing alright! [Laughter] I swear Jerry and I deal with people trying to get at us while talking shit about us.

Black Widow: Isn’t that crazy!

Steve Maestro: It is but it made me realize I was doing something good! LOL.

Black Widow: What do you think about the Chicago House Scene now?

Steve Maestro: You know when people talk about the same music being played at certain spots. There’s a creative wavelength that we are all on at times. We are in tuned with each other. Certain people make the songs, others are party pleasers and they are all important

Black Widow: I’ve had this conversation with friends of mine who don’t come out as much. There are some of my friends who don’t get out and when they are, they will go up for songs I’m tired of hearing but I had to realize they don’t get to hear the music the way I do. It’s different for them.

Steve Maestro: Exactly! The experience is different and that doesn’t ‘make it bad or worse. It’s a place for all of it. If it’s the hottest record, play it. It’ really is how you choose to handle it as a human being! Fuck DJs…people make a big deal about DJs. It’s how you are influenced as a person by what you do to a community. There are a lot of DJs who spin well but their insides are negative. If you are selfish, that translates.

Black Widow: I tell people when I feel a bad vibe or negativity coming from you as a person; it takes my desire to hear you play away. It doesn’t matter if you are good…but I have no desire to hear you play.

Steve Maestro: Your name don’t mean shit if you ain't shit.

Black Widow: [LAUGHTER} THAT’S IT! As a patron, I’m chasing the experience. I’m chasing that good vibe. I’m chasing the music. When I come out, I want to feel good. I want to laugh; I want to be surrounded by positivity. Life is hard enough; I can’t do that when you are a horrible person.

Steve Maestro: You have to get that negative energy off you. My job is to get you to scream and get that out. I want to take you to another place. That’s my job.

Black Widow I totally agree! I want to feel lighter, more hopeful and you can’t transform me with negativity. I want an experience that allows me to feel better in my day to day life.

Steve Maestro: That’s why people gravitate towards certain DJs. It’s not hate or anything like that. You can’t be mad at someone at their point of entry in the game. Elroy wouldn’t have hired me if I wasn’t good. It just is what it is. You can’t be mad about that. I’ve been blessed so much in this, there’s no need for hate or bitterness. These bitter DJs…I’m like you can’t hold that because you isolate people from you and people don’t want to be around that.

Black Widow: YES and you are stifling yourself. Even as a new artist, if I had focused on the hate or negativity thrown my way, it would stifle me. I can’t be concerned with that, it’s not about them. I have to keep doing my thing.

Steve Maestro: It’s real like that. Once I figured that out… once I started talking to a lot of these cats, and getting that on the job training, we all had an understanding. I was just putting in that work and the respect came, you have to just keep doing you and…

Black Widow: Keep those blinders on when it comes to the naysayers!

Steve Maestro: That’s it!

Black Widow: House and Steppers music is different yet uniquely connected. What do you think the differences are?

Steve Maestro: It’s not really different. They just dance differently to a different tempo. Both styles are musical. It’s a community just like house with their own language, style and culture. We actually are very similar and it’s a Chicago art form.

Black Widow: One thing I know for sure is that you KNOW music and music history. Why is it important for DJs/Producers to not just listen to the music but actually know the music?

Steve Maestro: It makes your work flow easier if you know the language to compute. Everything has a language; computers, language, hustling, pimpin… Southside has a language. If you are going to anything well, you have to know the language. The Music we play has a language. Through the music I get to emote my feelings. I pick the records I pick because it’s where I am at the moment. You have to be open, vulnerable…

Black Widow: I’ve learned that over the year, the more open, and vulnerable I am the more it connects.

Steve Maestro: Yes you have to be fearless. When I perform, I can do whatever I want. There’s freedom on a stage.

Black Widow: That seems to be a common theme in my interviews. It doesn’t matter if it’s a DJ, producer, singer, poet; everyone always talks about this need to be open and vulnerable for it to connect. When we talk about creativity and connecting

Steve Maestro: Yes! Yes! You have to be and it’s so hard for us sometimes to just strip it down, and open up. To be vulnerable, I’ve done it so much I don’t have a fear anymore. I just doing my thing…there’s freedom on the stage. I totally understand why Michael Jackson said the stage was where he felt most free.

Black Widow: What does being a Chicago artist mean for you?

Steve Maestro: We are near water and we are in the center of everything musically, the country and globally. We are always in people’s mouths. If you wanted to make it, you went to New York, LA but you also had to come through Chicago. We have the biggest and loyal fan base in the world. I’ve been London, NY and love the music and culture but Chicago is the home of house, blues, steppers, juke, jazz so many genre’s….we influence the world.

We are an epicenter.

That’s just us…

Black Widow: What does the future hold for you?

Steve Maestro: I’m focused on bringing people together. The bands and DJs. We got the Navy Pier gig coming up, getting everyone together, enjoying multicultural events, that’s what I’m about right now. I’m focused on getting our music played and getting it out there. 70% of the music I play is Chicago Music.

Black Widow: I could do this all night! Thank you so much!

Steve Maestro: It’s so much! You have no idea… laughter… the stories the highs and lows from NY and back to Chicago…it’s so much.

Black Widow I know…we need to do a part 2

Steve Maestro: Definitely!

Black Widow Thank you so much for chatting with me!

Steve Maestro: It was my pleasure!

You can find Steve Maestro this Saturday at the World’s largest House Halloween Party and at the following:

On Traxsource: https://www.traxsource.com/artist/81309/steve-miggedy-maestro?ipp=100

On Mixcloud: https://www.mixcloud.com/miggedy/

On FB: https://www.facebook.com/steve.m.maestro

On Instagram: https://www.instagram.com/miggedy123/

On Twitter: https://twitter.com/Miggedy

#Chicago House Scene #Blkwidowsweb #Chicago DJs #Chicago Producer #Chicago artist #steve maestro #steve miggedy maestro

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purspektivz · 7 years

Text

Set. Me. Free.

So I am sitting in this hotel room in downtown Birmingham. I had my MacBook on my lap and Being Mary Jane just went off and I was about to get back to working on a proposal and finishing it up on time. My company was just approved as a federal vendor and I was taking steps to finally make a bigger impact my way. When I start typing, the data and knowledge flows and I tend to be able to plug shit in. But it’s the START that gets me. It’s like all the doubts flood me as much as the excitement and anticipation. I feel inadequate, stupid, unprepared, too late, too old, not connected enough.....all of THAT! I get a sick feeling in my stomach and I freeze. I remember being this girl who went HARD after what she wanted and couldn’t NOBODY tell me I couldn’t do it! I was the girl who raised a daughter, who became the woman to do all things the 16 year old pregnant girl was told she couldn’t. I have fought battles for so many others and bent over backwards. Where did this fear come from? This stagnation? The DEEP doubt?

I got ALL TYPES of shit going on in my personal life. I was weighted down with shit back home. Trying to keep my head above water and achieve my dream. Because God keep breathing into me every day and it gotta be for a reason, right? And I can’t give up. I can’t die. I already tried. So I had to ask myself....

What made me feel FREE? What made me feel ALIVE? The answer.....

MUSIC

And when I say MUSIC, I ain’t just talking about this stick-a-wireless-headset-in-your-dome-and-stream-the-shit-outta-some-tracks music.

I am talking about being the little girl who was raised in a home where ‘that secular (which, for religious Black folk was synonymous with Satanic) music’ was not allowed.

I am talking about that little clock me and my sister had in our room that had a radio on it and we would sneak and listen to the radio station and rock to groups like SWV, XScape and H-Town.

I am talking about sneaking in the basement of my parent’s house and turning on BET and watching music videos and swooning over Tevin Campbell as he sang Can We Talk.

I am talking about going over our grandmother’s house and my cousin having a million cassette tapes that he would stick into his stereo system in the back room he shared with his sister. He would blast NWA, Tupac Shakur, Snoop Dogg, Dr. Dre, MJG, 8Ball, LL Cool J, Bone Thugs ‘N Harmony, Eric B and Rakim, and all of THAT! When Mark Wahlberg was Markie motha fuckin MARK!

Or how we would sneak in my grandmother’s bedroom while she was on the porch or out somewhere and turn on The Box and watch videos other folks had paid for while one of us held that damn antennae juuuust right to get a good picture and sound. We would watch videos from Craig Mack, MC Hammer, Ghetto Boyz and Busta Rhymes.

I am talking about the salvation I felt when I bought my first portable cassette player. You know the one that held those cassette tapes where you had to stick a pencil in and roll that tape in that shit when the songs started sounding funny. The one that came with the headphones with the sponges on them. And if you had the CHEAP player, that wire in between those headphones was thin and you had to keep sliding that shit on your head. I remember popping in Tyrese’s first album, Jay-Z’s Vol. 1, Total’s Kim, Keisha and Pam album and the GREAT Miseducation of Lauryn Hill. I remember tucking those headphones underneath my wool hat in the winter while I took the nearly 2-hour bus and train ride home from my job at Montgomery Ward in the cold and have to walk a half a mile to my parent’s apartment. That shit kept me sane. To run out of AA batteries was to run out of peace!

I am talking about my parents going to work and the landlord’s son letting us borrow his CD’s and we would blast music over my father’s stereo system. Tupac had become 2Pac and we listened to Makaveli. We memorialized Christopher Wallace over the sounds from Life After Death.

When 702′s Steelo was the joint that made you jump up.

When Immature was still the cute guys with the baggy clothes and sunglasses we all had crushes on.

When Blackstreet was begging a mother fucka not to leave.

When Missy had a wardrobe full of vinyl, but could make a joint that got you on your feet and collabo tracks with EVERYBODY.

When Lil Kim’s nasty boldness shocked the shit out of everybody but broke a mold.

When I used to run bath water and listen to that Waiting To Exhale soundtrack.

When I used to get finger waves and pretend I was that dark chick from Zhanè and went and got my head shaved like the light skinned chick.

I am talking about being pregnant and being on bed rest and being in the house alone after everyone went off to work and school and rubbing my belly, crying and watching Boyz II Men ‘Mama’ video.

When I used to watch Next tell a chick they’re getting too close or Janet Jackson get her red locks braided and sing along to the soft voice of Joni Mitchell and Q-Tip spit lines in between.

When Sisqo made a black made with blonde hair the sexiest thing alive.

I can go on and on!

Music made me feel alive. Jay-Z’s confidence gave me hope. Tyrese made me feel pretty. Missy Elliot made me feel like it was OK to be different. Rappers like Common, Nas and Tupac made me feel woke. Chaka Khan made me feel like I could be so fucking fabulous, I could run a marathon in red bottoms. Meshell Ndegeocello gave me EVERLASTING LIFE as an out bisexual woman in a time when it was super taboo to do so. Jill Scott rode the train with me back and forth to DePaul’s campus and made me imagine a life after the struggle. When I got my first apartment, I used to turn on VH1 Soul and let it play through my crib. I used to open a window, feel the wind and lay across my bed and softly play that Best of Sade orange CD I loved so much.

Music was soothing. It told a story. It understood me. It comforted me. I remember plugging headphones into my laptop and streaming Yahoo! Music and listening to songs to encourage me. I remember the music flowing as tears streamed down my face after I had gotten my daughter, who was in so much pain from a chronic illness, to settle down and sleep. I was intentional about what I listened to. I wanted to conjure an atmosphere that gave life. I wanted to hear my own story somewhere in those lyrics.

So, tonight as I sit here on this bed, under this duvet, with this MacBook on my lap, I grabbed these little bitty ass why-these-things-cost-$200 beats by Dre headphones and connected it to my iPhone and opened Tidal. What did I listen to to keep me motivated when I had to take the bus and get my education in the bitterest cold? What did I listen to when I held my daughter? Where was that Kiss of Life track I used to ride along Lake Shore Drive and listen to while it rocked my daughter to sleep in the backseat?

Where was my hope? Where was my motivation?

I looked in that black search box and began my journey. Words that reminded that there has been worse than this. That I have come this far by faith. To keep pushing. I pushed through so much bullshit in my life, I should write a manual. Don’t give up now.

Peace.

#blackmusic #blackmentalhealth #encouragement #blackwoman #blackentrepreneur #workmusic

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