The Bag Messenger BlogBag Design and Urban Living

Happy Memorial Day folks! I'm sure you are all busy attending cookouts ect, but before you get all full and lazy here is your Monday mixtape treat. Bobo Meets Rhettmatic. Live percussion, classic breaks, and more flavor than 700 beer brats. Truely a solid Mixtape win for your week.

-THE BAG MESSENGER

Click here for a painless download

Here is a cool little documentary covering Philadelphia's hand in the creation of Disco. Be on the look out for the Album "Get Down With The Philly Sound compiled by Dimitri From Paris.

-THE BAG MESSENGER

"BBE Records proudly presents its 5th and arguably most exciting compilation with the French dj and ambassador of disco, Dimitri from Paris. This compilation focuses on Dimitri’s essential disco era tracks - made in Philadelphia, that feature the core of the rhythm section that created and defined the sound of the genre. For this compilation Dimitri has exclusively reworked 5 tracks from the original multitrack tapes of Gamble and Huff with a further 4 being edited from the original 2 track stereo masters.

It should be noted that nearly all of the disco output from Philadelphia between 1973-1980 featured the work of the same studio musicians known as –The Family, MFSB (Mother, Father, Sister, Brother), The Salsoul Orchestra, Baker - Harris -Young Productions, The John Davis Monster Orchestra or the Montana Sextet depending on who the recording was for. The classic line up of musicians included Karl Chambers and Earl Young (Founder of The Trammps and creator of the disco drum pattern which laid the template for every dance record since) on drums; Norman Harris, Roland Chambers, Bobby Eli (Original MFSB member), and TJ Tindall on guitar; Winnie Wilford and Ronnie Baker on bass; Vince Montana (vibes/arranger and founder of the Salsoul Orchestra) and Larry Washington on percussion and Leon Huff, Thom Bell and Ron Kersey on keyboards. Don Renaldo taking care of strings and horns featuring soloist John Bonnie Rocco Bene on Trumpet.
Last but not least the remixers and Tom Moulton (Pioneer of the Disco Mix, the 12 inch vinyl format, the break down sections of records and supplier of missing masters for this compilation) who influenced the popularity of songs with his legendary mixes. For Salsoul Walter Gibbons was the owners choice. Honorable mentions go to Larry Levan and Shep Pettibone for their contributions in this field.
These guys were the bridge between the labels and the club dancers and understood how to make a record work in a club.

Undisputedly, as producer’s Thom Bell and Gamble and Huff's Philadelphia soul sound evolved from the simpler arrangements of the late 1960s into a style featuring lush strings, thumping basslines and sliding hi-hat rhythms; Philadelphia gave birth to and defined the brand new Disco genre. The anthemic “The Love I Lost” is recognised as the first commercial disco record and was recorded at the legendary Sigma Sound Studios, Philadelphia in 1973. Recording engineer, Joe Tarsia founded Sigma Sound in 1968 where virtually of all the disco recordings on Gamble and Huff’s Philadelphia International, Salsoul, Philly World, Gold Mind, Atlantic were made, thereby maintaining the unique sound of Philadelphia. Located at 212 N. 12th Street in Philadelphia, it was the second studio in the USA to offer 24-track recording and the first in the country to use console automation. David Bowie recorded his Young Americans album at this legendary studio as was Dusty Springfields - A Brand New Me, while Elton John's 1977 Philadelphia sessions were in such demand recently that they provided a hit single ('Are You Ready For Love') and CD re-issue 3 decades after the recordings were first made.

By 1975, Philadelphia International and the Philadelphia soul and disco genre’s it helped define had largely eclipsed Motown and the Motown Sound in popularity and Gamble and Huff were the premiere producers of soul with nearly 200 gold and platinum records to their credit. Salsoul capitalized on the success of the sound by employing the same musicians whilst focusing on club music predominantly.
In a recent Blues and Soul interview Kenny Gamble admits to passing over Prince’s demo. Other acts for whom Philly collaborations didn’t happen were Miles Davis, Bob Marley, Barry White and Earth Wind and Fire. Time simply didn’t allow these to happen.

Notable acts rushed to Philadelphia to capture the sound. Ex Motown cohorts The Jacksons and Eddie Kendricks utilized the above classic line of musicians up to embrace the new sound and extend their careers. Simultaneously, Salsoul Orchestra and the John Davis Orchestra were essentially basically a moniker core rhythm section of MFSB and recorded several disco hits outside of the PIR umbrella.

Now for the first time ever Gamble and Huff have given a label access to the multi track tapes of some Philly International platinum selling classics such as The Love I Lost, Bad Luck featuring the vocals of the late great Teddy Pendergrass, the first black male to release 5 consecutive platinum albums in the United States.

Dimitri's selection on CD1 traces the evolution of the 70’s disco groove from the first ever disco hit record, to the rejuvenation of the Jackson 5’s career. Interspersed with obscurities such as Charles Mann to the magnificent Teddy Pendergrass, Philly International’s answer to Marvin Gaye. CD2 of the compilation pays homage to the original creators and innovators of the remix and extended edits with reworkings exclusively by Dimitri from Paris."-BBE MUSIC


Tracklist:
CD 1:
Teddy Pendergrass - You Can’t Hide From Yourself
Eddie Kendricks - He's A Friend
Philly Devotions - Hurt So Bad (a Tom Moulton Mix)
Harold Melvin & The Blue Notes - Bad Luck
The Jacksons - Living Together
Harold Melvin & The Blue Notes - Tell The World How I Feel About ‘Cha Baby
John Davis & The Monster Orchestra - Night and Day
Carl Bean - I Was Born This Way
The Trammps - The Night The Lights Went Out
Harold Melvin & The Blue Notes - The Love I Lost
Charles Mann - Do It Again
Teddy Pendergrass - The More I Get, The More I Want
T.J.M. - I Don’t Need No Music

CD 2:
Harold Melvin & The Blue Notes - The Love I Lost (Dimitri from Paris Super Disco Blend)
Philly Devotions - Hurt So Bad (Dimitri from Paris Super Disco Blend)
The Jacksons - Living Together (a Dimitri from Paris Disco Re-Edit)
Harold Melvin & The Blue Notes - Bad Luck (a Dimitri from Paris Disco Re-Edit)
Teddy Pendergrass - The More I Get, The More I Want (Dimitri from Paris Super Disco Blend)
Harold Melvin & The Blue Notes - Tell The World How I Feel About ‘Cha Baby (a Dimitri from Paris Disco Re-Edit)
Teddy Pendergrass - You Can’t Hide From Yourself (Dimitri from Paris Super Disco Blend)
Eddie Kendricks - He's A Friend (Dimitri from Paris Super Disco Blend)
The Trammps - The Night The Lights Went Out (a Dimitri from Paris Disco Re-Edit) 

Alex Cornell’s work is classy. The time-bending effects used (photo cross-processing, yellowed paper, and other grungy “flaws”) look nice, but type selection and layout style are what I really like about Cornell’s designs. For example, on several of his projects, Futura is used in a way which is reminiscent of Mid-Century museum signage; centered and tracked out. You can see more examples of Cornell’s work on his Behance page and on Scott Hansen’s ISO50 blog.

-Nick Sigler

SECRET VIDEO OF BABY SLOTHS FOR ALL YOU DEDICATED READERS WHO MADE IT TO THE BOTTOM OF THE PAGE.

FOR MORE INFO GO TO WWW.BROOKLYNBOWL.COM OR WWW.LYRICSTOGO.NET

Tamir Z. Brown and the good folks at Lyrics To Go Entertainment, (the people behind the FREEDOM PARTY VS. THE RUB nuff said!!), bring you another moment in New York City Party History. Live at BROOKLYN BOWL we present THE SHEENIC ROUTE SPECIAL EDITION PARTY. Featuring the likes of NYC’s Premier Party crew THE FREEDOM PARTY playing all the classics. COSMO BAKER & 4TH PYRAMID known collectively as THE SHEEN BROS, spinning drippy disco funk and rounded out by the partyrocking, turntablist of X-ecutioner fame, THE X-FACTOR BOOGIE BLIND. What more could you ask for? Well if you asked here's the answer--- we have none of other then the funky technician himself, D.I. T. C's own LORD FINESSE handling the hosting duties for the night. So join us Memorial Day Weekend, SUNDAY MAY 30, 2010 (NO WORK MONDAY!!!). This party promises to be a fun filled evening with dancing and bowling oh and don't forget the food by Blue Ribbon and beers from local Brooklyn Breweries (oh yeah and they do have a full bar).

www.twitter.com/tamirzbrown

DJ extraordinaire Cosmo Baker (The Rub, NYC) andMC/Producer phenom 4th Pyramid (Toronto) jokinglycame up with the concept of THE SHEEN BROS one balmy Manhattan evening: A duo of slicked-out sleazestars tuned into the greasy funk and drippy discosounds that make girls lose control and guys feel like macks hit the stage in style to turn the party out.Unbeknownst to them, the two hit on a virtual partyrocking monster machine that’s no joke. With Cosmo onthe ones and twos and Pyramid on the MPD, these twohave smoothed out their own brand of sexy dance floor flavor, what they like to call Scumbag Funk, and the people want more. Lyrics To Go's secret weapon maynot be a secret anymore after this year's WMC making the Sheen Bros a group in strong demand. What can we say…it’s a Sheen thing.

www.cosmobaker.com / www.4thPyramid.com / www.twitter.com/sheenbros

The Freedom Party (Herbert Holler, DJ Cosi, Marc Smooth) Today, the Freedom Party is the most successful, sought-after dance party in NYC. For the last 7+ years,on a weekly basis, each and every Friday night, we have packed our house with the most positive, fun-loving, high spirited, beautiful people in all of NYC. And they come from miles away, too. Places like Los Angeles, Miami, Atlanta, Houston, Seattle, Chicago, Washington DC, Philadelphia and Detroit, not-to-mention our international guests from Japan, England, Denmark,France, Italy, Canada and more.When they are in NYC, they come to FREEDOM. Lyrics To Go had the pleasure of producing The Freedom Party's 5 year anniversary which included a stellar line up of artists, Chubb Rock,Slick Rick, Nice & Smooth and Lisa Lisa. The night was one of those moments that set Freedom apart from the pack and made them a true staple in the annals of the NYC party scene. On January 17, we made history again this time at Brooklyn Bowl for the Freedom Party Vs. The Rub, this was a sold out event with the crowd being dubbed the winners for being a part of one the best party experiences NYC has seen in years. 

www.thefreedompartynyc.com

The X Factor Boogie Blind is the definitive DJ, he embodies all the elements from being a party rocker to a world renowned turntablist. He studied under the late great Grand Master Roc Raida, going on to become the Vestax World Champion and 2001/2002 DMC Champion. Boogie Blind has been a part of Lyrics To Go since its inception and represents the mantra "Let's Get It, Let's Go" where ever he plays (Japan, Germany, Italy, and China). Boogie Blind's technical skill and raw talent make him one of the most paramount DJs in the world. DJ Boogie Blind, is a stalwart in the DJ world and has been the DJ for Jean Grae,Fat Joe, D.I.T.C, Pharoahe Monch and most notably The X-ecutioners. He is the cornerstone of the Lyrics To Go All-Stars and we are deeply vested in his success.

www.twitter.com/boogieblind

HOST Lord Finesse Hip hop artist and producer, hailing from The Bronx, New York, best known as the leader of the D.I.T.C. rapcrew. In 1989, Finesse and his former partner DJ Mike Smooth signed to Wild Pitch Records, home to other popular Hip Hop artists like Gang Starr, Main Source, Chill Rob G, Percee P and O.C. In 1990, the duo released their debut album Funky Technician. The album featured production from future star beat-makers DJ Premier, Diamond D and Showbiz. Finesse formed the popular New York crew D.I.T.C., an acronym for 'Diggin In The Crates', together with Showbiz & AG and Diamond D. Future members included Fat Joe, O.C., Buckwild and the late Big L. Lord Finesse is one of the Hip-Hop's all around talents. Finesse has mastered the art of Mcing, Producing and Djing. He's a triple threat, a true Hip-Hop aficionado. He has produced songs for the likes of Dr. Dre, O.C., Capone -N- Noreaga, D.I.T.C and late greats Notorious B.I.G and, Big L. Known for being one of the coolest and funniest brothers out Lyrics ToGo is proud to have this Legendary MC host the Sheenic Route Special Edition Party, Sunday, May 30 2010 at Brooklyn Bowl

Japanese King of digging DJ Muro rocks all lp's played at 45 RPMs on this mix. The concept is cool, its filled with a lot of classic sampled material, and it holds together like steamed sticky rice...which has nothing to do with the fact that he is Japanese. Happy Monday folks

-THE BAG MESSENGER

Click here for a painless download

Here is a little preview of some of the bags we are working on. A smaller version of the Simple Messenger, and a new Tote. Check back, they should be up in the site in a few weeks!

-THE BAG MESSENGER 

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Isadora says you will love the new Simple messenger size.

We have designed the ultimate Tote bag.

 I'm not going to lie to you, these biscuits are not a healthy breakfast choice. They are not a healthy snack, a healthy alternative, or even a good idea. Chances are that you have eaten a biscuit or two in your day if you are still reading this, and you know that although they may be potentially life threatening; homemade biscuits are harder to resist than crack was for Pookie. Consider yourself warned. Make sure you have some butter, honey, or home made preserves handy; because these biscuits are good.

-THE BAG MESSENGER

SOUR CREAM BISCUITS 

4 c. flour
2 tbsp. baking powder
2 tsp. salt
2 tsp. sugar
1/2 tsp. soda
1 (16 oz.) sour cream
1/2 c. shortening

Use pastry blender to cut sour cream and shortening into dry ingredients.

The dough makes 20 biscuits, but the remainder can be frozen. Under NO circumstances should you consume 20 biscuits.

Bake at 375 degrees for 20 to 25 minutes.

Please accompany each biscuit with a subsequent thirty mile run, and fifty push ups.

My grandfather used to say that time is the great equalizer. Through the clock we are all equal in potential, and it is how we spend our time that creates the substance of  life. Whether behind the lens, or on the needle end of a ball of yarn Lavanya Patricella is working away busily. A woman with a creative gift, refined eye, and a well grounded sensibility; Lavanya lives the life of the medium, reflecting the beauty she sees and creating substance. 

-THE BAG MESSENGER

THE BAG MESSENGER: Who are you and what do you do?

LAVANYA: My name is Lavanya Patricella and I'm a full time knittress and photographer.

THE BAG MESSENGER: How did you first get involved with your work?

LAVANYA: I come from a family of artist / musician / magicians and was raised with full support to be creative minded. I started taking pictures when i was 13 with no intention what so ever to become a photographer, and in many ways still don't consider myself to be one. i started knitting about 5 years ago, fell madly in love with the craft and decided to start up a line of my hand knit designs. I also teach knitting at my local yarn shop.

THE BAG MESSENGER: How has your work changed throughout the years?

LAVANYA: I'd like to say it changed from a child to a woman, when I look back at my work I see a lot of raw energy and what was in there ready to get out. I started a non profit site (phoot.org) when I was 14 and broadcast my thoughts, visuals and creations in a journalistic form daily/weekly/monthly for over 12 years, recently I have taken a break from that to focus more on my fiber crafting (abhaya fibers) as it's what i love to do more then anything. i'm more or less mixing my skill-sets into something new right now and having a lot of fun while i'm at it. 

THE BAG MESSENGER: Who were your influences? 

LAVANYA: I've been surrounded by amazing minds most of my life. I've always been influenced by originality and those that do it for the love it, no thoughts past that. 

THE BAG MESSENGER: Do you have a favorite camera?

LAVANYA: I'm still a sucker for my canon 10D, it's been with me a long long time now. I'm eco-conscious and think film should be left to those who use it as their true art form. I'm just here to reflect what I see, what I feel and what I make, the medium is the message, the camera just mirrors it for me.

THE BAG MESSENGER: Any interesting stories or tips?

LAVANYA: Knitting in public will get you glances, stares, giggles, thumbs up and smiles.  

THE BAG MESSENGER: How often do you get out and about? 

LAVANYA: I live and work off the land with my crew, making art, music, clothing, and growing food...which makes me a bit of a homebody, I also have a teaching schedule weekly so aside from intergalactic teleportation I don't travel too much right now.

THE BAG MESSENGER: Where are some of your favorite places to knit?

LAVANYA: Have yarn? Will travel! I am a fiber connoisseur and can easily spend days soaking in the colors and textures in a yarn shop, plus the atmosphere is pretty inspiring. My experience so far with the knitting community has been very warm and welcoming. I especially love shops that are project friendly, where you can bring your work with you and sit with ladies, swapping stories and exchanging techniques. I also love to be in any natural surrounding, where you can hear the wind because there are trees and see the stars after sunsets.  

THE BAG MESSENGER: What are the tools of the trade? (whats in the bag?)

LAVANYA: I travel light, I bring my bag of tricks and knits, my camera, some water, a jacket perhaps and some good energy.
 I rarely go anywhere without my knitting needles and yarn for whatever my current project is. I also carry a crochet hook (because no matter how long you've been knitting you never know when you will drop a stitch), little scissors, tape measure, my camera and a moleskine journal for notes.

Its official folks, we are now in the midst of block party season. Thats right, its time to get out side, dust off the grill, and meet your neighbors in the middle of the street for an all day summer time shindig. One thing that is sure to ruin a block party quicker than you can say "rain", "Debo" or "stale hamburger buns", is lack of good block party music. What exactly is "good block party music" you ask? The simple answer is music that everyone know, but the truth is finding common ground when it comes to music is difficult. If you live on a block with a range of folks, walking this line can be a daunting task. The classics your neighbor Gladys wants to hear were released almost certainly on Motown, The Sound of Philadelphia, and Stax. We can also tell you that the kids that will show to eat all the hot dogs will have a very different list. Any DJ worth their head shells will tell you to play "the classics", keep the vibe fun, and offer to do this at your party for a fee. Although we would love to DJ your block party, we here at Tucker & Bloom are in the business of selling bags, and can save you a buck or two by spilling the beans on how to heat up your block party with only a few albums. The answer? Celebrate diversity! Here's a short run of some soulful albums to help you get off on the right foot. Just remember who saved your block party next time you need a bag. 

-THE BAG MESSENGER

Motown Beats Vol. 1 by veteran DJ and producer Coolout. Twenty-eight tracks of pure block party middle ground music. Familiar enough that Gladys will reminisce, and peppy enough that you'll be able to flip burgers all night. 

El Michels Affair is the group that put out "Enter the 37th Chamber" an album in which they replayed classic Wu Tang cuts. Their second album "Sounding Out The City" is good middle ground funk that you can play during the day. Perfect squirt gun dodging music.

Jazzy hip hop group Digable Planets Blow Out Comb is a classic, and also about as accessible a hip hop record as you can find...plus the vocals are low enough in the mix that the lyrics don't get in anyones way. 

Michael Jackson's Off The Wall... need we say more? Hits 

Never trust a person who doesn't dance to James Brown. Seriously

Classic Sunny day music from the king of the vibes Roy Ayers.

These Verve Remix albums are a great way to bridge the generation gap. Pick your flavor, house, downtempo, hip hop. Truly something for everyone on these. 

Latin Percussion legend Francisco Aguabella dies at 84.

"Francisco Aguabella, an Afro-Cuban percussionist considered a master sacred drummer who also had a wide-ranging career in jazz and salsa, has died. He was 84.Aguabella died Friday of cancer at his Los Angeles home, said his daughter Menina Givens.

His career "bears testimony to the existence and continuity of a sacred tradition in dancing and music that has been present throughout the development of popular music in the Afro-Cuban style," UC Irvine professor Raul Fernandez said in his 2006 book "From Afro-Cuban Rhythms to Latin Jazz.""- The LA TIMES

This week Tucker & Bloom caught up with DJ APT ONE of the Philadelphyinz. Easily spotted by his moustache and signature Pittsburgh Pirates hat, APT ONE
is well known in Philadelphia as a force both behind the turntables and the mixing board. Read about the history of the group, how he first got into music, what he's been busy working on, and the origin of the name Philadelphyinz (rumor has it the name has roots in the Mayan calendar). Embrace the man behind the handlebar moustache, and read on dear reader.

-THE BAG MESSENGER

THE BAG MESSENGER: How did you first get into music? 

DJ APT ONE: Some of my early memories involve my parents singing to me before I'd go to sleep. I used to love to improvise my own songs.  I remember my dad singing Mississippi John Hurt's "Irene Goodnight."  But he tactfully removed the verse about jumping in the river and drowning.
My dad is a huge music nerd.  I still go home and burn CDs from his collection.  He went to SXSW with me this year - it was awesome.  I got a call from him over the winter where he said "yeah I think there are a few dozen shows I want to see in Austin this year, I'm gonna go."  He has a really good grasp on what I do in music - it can be awfully hard to explain DJing and production to people who grew up before that was a thing.

THE BAG MESSENGER: How did the philadelphyinz come about? Where does the name come from?

DJ APT ONE: Oh man.  I get this question a lot and there's no real quick answer so here goes.
So in 2005 I was doing some parties where I had a string of my buddies that I grew up with in Pittsburgh down in Philly rocking with me.  Philadelphyinz is sort of a portmanteau of the words "Philadelphia" and "yinz."  Yinz is the equivalent of "y'all" in Pittsburghese, which is a really strange dialect of English with all kinds of weird words.  You don't really hear it outside of Western PA, Eastern Ohio and West Virginia.  It's pretty wild.  Anyways.  
Ultimately, Skinny and I struck up a partnership this way - we hadn't DJed together much since we were in high school but he had moved to NYC from St. Louis and I had him down DJing a bit and we really clicked.  We used the name for the party because it had these two geographic influences - it was Pittsburghers in Philly. We didn't really expect to have the party continue for so long and we certainly didn't intend to name ourselves that - nobody can spell the fucking name and most people have no clue what it means.  Other people started referring to us by the name of our party and after a while we just stopped fighting it because people knew what it was and the name was out there.  Skinny and I have played in dozens of cities as Philadelphyinz and we run a record label together and still do that party (and others like Hot Mess) together til this day.  I love that dude like a brother - as in "that's my dude but i wanna put him in a headlock half the time."  I think he'd say the same about me. 

THE BAG MESSENGER: When did you get involved with production?

DJ APT ONE: I've been producing since the early 2000s, and it was just a natural progression from DJing.  I spend a lot of time producing - making remixes for other artists, making edits and remixes for DJ use and making my own original production.  I have had a lot of success with my edits and the RCMP records I've been doing the last couple years and I have dozens of tracks ready to go when they find the right home. 

THE BAG MESSENGER: We're you always involved with collecting music?

DJ APT ONE: It's all about Jerry's Records in Pittsburgh. One of the biggest all-vinyl stores in the world. It was on my walk home from high school.  I'd grab some pizza or some Chinese and just post up there for hours. 

THE BAG MESSENGER: How has serato changed the way you get down?

DJ APT ONE: I'd be lying if I said it hadn't changed the way I do my thing, but I am probably on the more puristic side of digital DJ culture.  I held out against switching to digital until 2007 and I watched the way the tail was beginning to wag the dog, and I decided that although I had to go digital in order to play the music I was making (and save my lower back from destruction), I'd try to stay very focused on keeping my musical identity as somebody who trusts his own musical instincts.  Having access to such a huge volume of digital music makes it easy to be lazy or be a trend fucker.  I'm a digger and I like funky music, and I gotta remember to keep those things core to my identity.

THE BAG MESSENGER: Do you still buy records? What are you looking for these days?

DJ APT ONE: I do- I mostly look for good disco, house or funk gems and look for sample sources. I'll pick up anything I think I can play and if it's cool but maybe not playable, I'll edit it.  I also collect a few esoteric things - Pentangle-type British electric folk, old Bob Wills style country.  Weird shit.

THE BAG MESSENGER: What do you listen to for fun? 

DJ APT ONE: My favorite thing to listen to for fun is Andre the Giant and Butter on 105.3 WDAS on Sunday nights.  I love listening to cats who have been playing funk, soul and hip hop for like 40 years play that shit live in a nightclub.  I love listening to how they treat particular records and I always come away from that show with a new respect for certain classic records and what they can do if used effectively.  

THE BAG MESSENGER: What would you be doing if you weren’t a DJ?

DJ APT ONE: I'd be in grad school.  I dropped out to do this full time.  I had an itch I couldn't scratch and I knew that if I didn't take my chances as a working DJ and producer NOW, the window would close and I'd regret it later.  Grad school's not going anywhere and as far as I know I'm not getting dumber as time goes by.

THE BAG MESSENGER: What are some of your places to visit? Favorite crowds to play for?

DJ APT ONE: The best crowds I've played for (outside of Philly) are most definitely Providence, DC, Minneapolis, Pittsburgh and Cleveland.  I don't know what it is but folks in those cities always go bezerk!  My favorite crowd to play for is probably the gay, black over 30 crowd but I'm not picky - anybody who is open and down to have a good time is my kinda party person.

THE BAG MESSENGER: What's the key to packing for the road?

DJ APT ONE: Pack efficiently and make sure you have easy access to all your esoteric DJ electronics so you can take them out beforehand at airport security.  It saves you a lot of time.  Also, do anything in your power to avoid checking a bag.

THE BAG MESSENGER: Every DJ has a horror story or two....what is the worst thing to happen at a gig?

DJ APT ONE: This is another question that a short answer doesn't do justice.
I was DJing a Beautiful Decay magazine release party in NYC with Burnso.  Must have been 03 or 04.  He and I had a group called Myron Cope Experience up until 05 or so.  We played a set with lots of Kraftwerk, Black Moon, Barry White and probably Aaliyah acapellas over Ante Up.  We rolled deep on wax with mashups before anybody called them that (and before Serato made it silly to bother mixing two records together live for 3 minutes).
Anyway, we get done playing our set and these guys from Madball come on after us and DJ.  They just slam in a bunch of hardcore records.  I had no idea who they were or what DMS crew or anything was.  I still know pretty much zero about hardcore.  Never really cared for it or knew anybody who did when I was young.  I found out after the fact that these guys are pretty much legendary head cracking motherfuckers.  
Our boys from Philly who came up were friends with my buddy Dos Noun, who was also performing.  These kids were complete degenerates, and they start getting flipped out like "THIS MUSIC FUCKING SUCKS PLAY SOME RAP" etc.,  They're climbing up into the booth and getting in these Madball guys faces.
All of a sudden I see Dos get sucker punched by some hardcore dude and the dance floor basically turns into a big riot.  We gotta go rush to get our boys' backs.  Big rumble goes down, nothing too serious, but then half the Philly kids get thrown out of their own show and this dude Rooney is in front of the old Downtime in the middle of 30th Street in Manhattan waving a crowbar at his best friend's manager for kicking them out.  Several of the guys who were on "our" side were dust-head criminal miscreants that I would never vouch for in real life but basically we had no choice.  They are basically waiting outside the club for their own managers and these DMS dudes until cooler heads prevailed and the left.  It was ugly.
We rode the train to the Bronx with 5 damn crates of records at like 5AM covered in blood and beer.  My friend Annie was vomited on in the club at some point.  Real human wreckage.  We go way the fuck up in Riverdale near that IHOP everybody knows.  So we copped some 40s at a bodega and crushed em.  Then we get to Annie's apartment - it's the size of a shoebox and me and Burns had to sleep head to toe on the same tiny futon.  There wasn't even floor space for one person.  Burnso copped a can of Spaghetti-O's at the bodega and ate the thing cold and farted the rest of the fucking night
That last part is the real horror story. Game over.

THE BAG MESSENGER: Where do you find inspiration to do what you do?

DJ APT ONE: The streets of Philly.  The bar around the corner from my crib in West Philly has a house band that plays George McCrae's "I Get Lifted" almost every week when I'm waiting for the 9PM trolley to the gig - that's all the inspiration I need. 
The DJs in this town blow my mind.  Watching Cosmo Baker or Brendan Bring'em rock it is inspirational in and of itself.  I also get a lot of inspiration from watching my homies do what they do - all my friends teach me a lot about music when I watch them play.  You can't suck and make it in Philly.

THE BAG MESSENGER: What are you working on now? What can we be looking for in the future?

DJ APT ONE: I just cut a remix for my boy Nick Nack from Austin, and I'm working on getting some of my huge collection of bootleg funk and disco edits out there on wax and digital with my boys Eleven and Cosmo from the Rub and my homie DJ Audit out of Canada.  I have a project with a bunch of ex-P-Funk members that will hopefully see the light of day soon as well.
I have a lot of cool stuff coming out of Young Robots camp (my label).  We've got a new single from one of my groups, RCMP, as well as records by Skinny Friedman, New York's Pumpkin Patch, Relative Q (also of RCMP), Detroit's Frankie Bank$, Dash Speaks and myself in the next year, so stay tuned.  YoungRobots.com all day baby. 

THE BAG MESSENGER: What do you think DJ culture is going to look like in the next ten years? (Will the DJ become more of a performer or less?)

DJ APT ONE: I can't really say what is in store for DJ culture.  Digital DJing tools have really made the game less about what music you have and more about what you do with it.  There will always be toolish DJs out there who promote their asses off, and that doesn't bother me, but if Philly has taught me anything, it's that often times, the cream rises to the top.  The people who can present a unique musical aesthetic to a crowd will always make waves.

DJ NUTS is at it again this time with a mix commissioned by VTECH Phones covering the musical compositions of Brazilian legend Arthur Verocai. Embrace your Monday.

-THE BAG MESSENGER

"DJ Nuts is an astute and rigorous historian of Brasil’s vast and varied musical culture. His record collection is legendary; his skills as a DJ are world class. We commissioned him to make this mix to help people understand the extraordinary legacy of Verocai. Many by now know Verocai’s  self-titled album, some even know the more popular compositions and arrangements, but none have dug as hard as Nuts. Years of collecting and a strong friendship with Verocai himself have made this historic mix possible. 78 minutes of all Verocai compositions and arrangements is a dream come true." VTECH

Click HERE for a painless download

Below is Biographical information about Aurthur Verocai via UBIQUITY Records

"In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Arthur Verocai released a self-titled album on Brazilian based Continental Records that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar.

Luv N'Haight records is honored to release its first full-length Brazilian album. It's super rare and will appeal to fans of the folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney. Closest Brazilian comparisons would be to Tim Maia and Jorge Ben. This unique recording has a touch of folk, more than a hint of funk, jazz style soloing, amazing 20 piece string arrangements, blending of electronics and keyboards with organic sounds, and superb soundtrack style music.

"I used to listen to Blood Sweat and Tears, Chicago, Stan Kenton, Wes Montgomery, Jimmy Web, Frank Zappa, Herbie Hancock, Bill Evans and Miles Davis, Milton Nascimento, Bossa Nova, among others," explains Arthur Verocai. "In Brazil we had many musical influences, and by that time there wasn't a hegemonic one in the market. In this way my album reflected a search and musical experimentation. I was in an adventurous mood on this album and that led me to explore new melodic, harmonic and rhythmic paths.

Verocai arrived at the 1972 album with a number of accomplishments under his belt. He'd produced the Ivan Lins 1971 album "Agora" which was influenced heavily by the sound of North American soul. He had contributed string arrangements to Jorge Ben releases, too. "I also produced two albums by a singer named C?lia for Continental and the president of the company was delighted with the results. He invited me to produce an album using my own compositions and I agreed as long as I was able to choose the musicians to perform with me. All the strings sessions featured 12 violins, 4 violas and 4 cellos, always with one or two percussionists. The idea of mixing strings with contemporary sounds came from my desire of searching for new paths. I think this album was very rich in terms of both quantity and quality of musicians!"

Verocai wasn't messing around with his line-up of musicians, which included Brazilian legends like Robertinho Silva, Pascoal Meireles, Luiz Alves, Paulo Moura, Edson Maciel, Oberdan Magalh?es (Banda Black Rio), Nivaldo Ornelas (Milton Nascimento band) and Toninho Horta.

Born Arthur Cortes Verocai in Rio de Janeiro, Brazil on 17/6/1945, he studied music with L?o Soares, Darci Villaverde, Nair Barbosa da Silva, Roberto Menescal and Vilma Gra?a. In 1966 Leny Andrade included his song "Olhando o Mar" ("Looking at the Sea") on her "We Are There" album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements. The live recording of the event included the songs "Madrugada" and "Nova Manh?", composed in partnership with Paulinho Tapaj?s.

By 1968 his main gig was working in Civil Engineering in Rio de Janeiro. He still managed to perform and participate as a composer at many of Brazils famous Festivals of Music. He was working with artists like Paulinho Tapaj?s, Elis Regina, Creuza Maria, the Golden Boys, and Evinha. In 1969 Arthur Verocai began his professional career as musician and arranger. He scored the music for the theater show "Is The Greater", and wrote his first arrangements for orchestra. He arranged records by the Ter?o, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, C?lia, Guilherme Lamounier, N?lson Gon?alves, Marcos Valle, and others. His music also appeared in the musical "The Life of Braguinha", alongside Elizeth Cardoso, Quarteto em Cy, MPB4 and Sidney Magal. By 1970 he was writing for other groups and regularly composing music for multiple TV shows and incidental music for TV series.

The 1972 self-titled album allowed Verocai to take his interest in instrumental music even further. "I always wanted to compose soundtracks in great style, as in the cinema, but this wasn't possible with television work," he says. "My opportunity came when I was recording this album. I created a rhythmic cell in the acoustic guitar with the harmonic line. I added bass and the non-conventional drums and the percussion with a very smooth orchestration in blocks (four trumpets and a flute) plus the delicate touch of the strings (12 violins, 4 violas and 4 cellos). At the end of the song, Oberdan Magalh?es played and sang with his flute." The resulting track is "S?lvia".

"Presente Grego" is perhaps the funkiest track on the album. "This song was influenced by American soul and funk," says Verocai. "By 1972 many of the musicians of my generation were feeling the same influences. Because of our exposure to all many musical influences, we put a distance between us and the conventional recording styles. "Presente Grego" means "Greek gift." It is an expression that comes from the horse of Troy, a gift from the Greeks that hid the warriors that defeated the Troyans. Likewise, the military dictatorship, under the appearance of a good government, practiced censorship and oppression", he explains.

In addition to the funky soul elements the album features many solos from artists obviously well schooled in Jazz. Check the soloing in "Pelas Sombras" or "Karina", where saxes blow hard and true against the backdrop of Brazilian rhythms. "My musical preferences go from J.S. Bach and Villa-Lobos, to jazz musicians like Tom Jobim, Milton Nascimento, Miles Davis, Herbie Hancock, Oscar Peterson, Wes Montgomery and Bill Evans," explains Verocai. "I remember Edson Maciel, was invited to a studio session at 9 AM and was to perform a solo on "Karina." He asked us to wait for a while because he wanted to be inspired by some "cacha?a" (a Brazilian liquor made from distilled sugar cane juice). While rehearsing, he asked for a little more "cacha?a" to bring on some more inspiration. This happened twice until he found his inspiration and performed a tremendous solo!" remembers Verocai.

In the years after the album release Arthur Verocai became a music advertising executive, creating and producing albums for customers like Brahma, Fanta, Petrobra's, South America, Souza Cruz and was even honored with the Colunistas Prize in Advertising. Since 1983 he is the main proprietor of Studio "V" - House of the Sound and in 2002 he released a solo album "Arthur Verocai - "Saudade Demais" featuring a collection of his work as composer, including some unreleased songs.

Arthur Verocai's musical peer Ivan Lins has this to say about his great friend, "Arthur is a very dedicated musician. He has always been. Not only dedicated but very talented also. He made this record years ago just for the fun of it without much publicity. And now will strike back. That's great!""- UBIQUITY Records

Russian illustrator Iv Orlov’s style blends geometric and organic shapes to create a cut-paper look that’s mildly reminiscent of Saul Bass’s work during the 1950’s.

-NICK SIGLER 

Style is something cultivated through years of experience. It comes naturally to some, others end up starring on "What Not to Wear" or fading into a patina of blurry look-a-likes. For Lalie Kavulich standing out is not an issue. When she isn't crafting formal wear with the Rhinestone Rembrandt MANUEL, you can find her reconstructing vintage garb for a new clothing line or dancing to James Brown. Sound like the kind of girl you might want to meet? We think so. Find out all the juicy details below....

-The Bag Messenger 

THE BAG MESSENGER: Who are you and what do you do?

LALIE KAVULICH: My name is Lalie Kavulich and I am the Assistant designer to MANUEL (also known as the Rhinestone Rembrandt & Couturier to the stars),a slightly tortured artist, stylist & also a reconstructor of vintage clothing, jewelry and accessories.

THE BAG MESSENGER: Where did you grow up?

 
LALIE KAVULICH: I hail from the North East. Scranton, Pennsylvania to be specific .Yes, home of "The American Office"(our one claim to fame) and although I consider myself very northern in both mindset & heart, I have been living in Nashville, TN for the past 10 years now and I have cultivated a deep appreciation for all things Southern in culture. 

Manuel measures Johnny Cash for a suit.

THE BAG MESSENGER: How did you discover your talent?

LALIE KAVULICH: I do not recall a moment in which i did not have an immense passion Fashion, wearable art, costuming, styling and the like....I used to cut up and reincarnate Barbie doll clothes as a child. After high-school It was a toss up between Fashion and Writing. Visual inspiration had always came so effortlessly, I was never afraid there would be a day I would go bankrupt of concepts, plans designs or ideas. 

THE BAG MESSENGER: What are a few current projects you are working on?

 
LALIE KAVULICH: I am in the process of starting my own green, reconstructed. one of a kind, clothing & accessories line. Nothing will be over $100 but each and every piece will be completely unique. I am mainly focusing on items for females that march to a slightly different and more complex tempo. A world where Alice of Wonderland is best friends with Joan of Arc, Barberella and Aphrodite.  Think- hip vs. glamour, serpentine vs. femme fatale,  I gather a great deal of inspiration from strong feminine historical and literary characters.

Jack White in a suit designed by Lalie.

THE BAG MESSENGER:  Name a song you never get tired of?

LALIE KAVULICH: "The Payback" by James Brown and "all we ask" by Grizzly Bear 

THE BAG MESSENGER: Favorite drink?

 LALIE KAVULICH: Champagne.

Dia De Los Muertos suit designed by Lalie

THE BAG MESSENGER: Who has been the most inspirational person or thing in your life?

LALIE KAVULICH: My mother for creating the template for what a strong woman should look likeand my boss MANUEL for teaching me to be unstoppable and that the most reliable thing in life is change. 

THE BAG MESSENGER: Plans for the future?

LALIE KAVULICH: Travel, tall tales, fabrics, photographs, costumes, adventures, statements, characters, recreations -one day at a time.

Lalie, Photographer Cambridge Jones, and Lauren Wray

The "Salute Your Solution" video features Jack White  wearing a suit designed by Lalie at Manuel's

HAPPY BIRTHDAY JAMES BROWN!

Today is James Brown's Birthday and we can think of no better way to spend it than with this mix done by funk professor Cosmo Baker. Titled "The Land Of Milk and Honey" the mix covers a wide range of James Browns musical legacy, and features some of his lesser known production work, including the song by Vicki Anderson for which the mix is named. Click the player and get on the good foot...its Monday Yall.

Cosmo Baker- The Land Of Milk and Honey

I think it is safe to say that modern music would sound distinctively diffrent had the world never met James Brown. In fact he holds the distinction of being the "Most Sampled Man in History".....How sampled?

Below is a small portion of the immense list of songs that use his work in one form or another, taken from The Breaks.

• “Night Train”
  - Carlito - “Fame Game”
  - Kool Moe Dee - “How Ya Like Me Now?”
  - Public Enemy - “Night Train”
  - W.I.S.E Guyz - “Do the Eygyptian”
  - West Coast Rap All Stars - “We’re All in the Same Gang”

   

  Out of Sight: (King 1964)

• “Out of Sight”
  - Them - “Out of Sight”

   

  Papa’s Got a Brand New Bag: (King 1965)

• “Papa’s Got a Brand New Bag”
  - JAMS - “Candyman”
  - Kool Moe Dee - “How Ya Like Me Now?”
  - Kool Moe Dee - “I’m a Player”
  - No Face - “Stole My Shit”
  - Pharcyde - “I’m That Type of Nigga”
  - Salt-N-Pepa - “Swift”

   

  I Got You (I Feel Good): (King 1966)

• “I Got You (I Feel Good)”
  - GangStarr - “Gotch U”
  - LeJuan Love - “I Got You (I Feel Good)”
  - Public Enemy - “Contract on the World Love Jam”

   

  It’s a Man’s, Man’s, Man’s World: (King 1966)

• “It’s a Man’s, Man’s, Man’s World” (Intro)
  - Alicia Keys - “Fallin’”
  - Big Daddy Kane - “Mortal Combat”
  - Black Moon - “Black Smif-N-Wessun”
  - Heavy D - “You Ain’t Heard Nuttin’ Yet”
  - Ice Cube - “This is a Man’s World”
  - Ice Cube - “Jackin’ for Beats”
  - Luke - “Arrest in Effect”
  - Nature - “Man’s World”
  - Tupac ft Dramacydal, C-Bo & Storm - “Tradin War Stories”

Cold Sweat: (King 1967)

 

• “Cold Sweat”
  - 3XDope - “Straight Up”
  - Chubb Rock - “What’s the Word?”
  - Cookie Crew - “Bad Girls (Rock the Spot)”
  - DJ Jazzy Jeff & the Fresh Prince - “Takin’ it to the Top”
  - Ice Cube - “Jackin’ for Beats”
  - King T - “Bass”
  - Public Enemy - “Prophets of Rage”
  - Public Enemy - “How to Kill a Radio Consultant”
  - Public Enemy - “Welcome to the Terrordome”
  - Sweet T - “I Got the Feelin”
  - Terminator X - “Juvenile Delinquintz”
  - UTFO - “Wanna Rock”

   

  James Brown Sings Raw Soul: (King 1967)

• “Bring it Up (Hipster’s Avenue)”
  - Brothers Like Outlaw - “Kickin’ Jazz”
  - GangStarr - “Manifest”
  - Kid ‘N Play - “Gittin’ Funky”
• “Don’t Be a Dropout”
  - Red Hot Lover Tone - “Like a Virgin”
• “Bring it Up (Hipster’s Avenue)”
  - UMC - “See the Man on the Street”

   

  I Can’t Stand Myself (When You Touch Me): (King 1968)

• “I Can’t Stand Myself (When You Touch Me)”
  - Schoolly D - “It’s Like Dat”
  - Spacey B Experience - “Run That Go-Power Thang”

   

  Say it Loud, I’m Black and I’m Proud: (King 1969)

• “I’m Black and I’m Proud”
  - 2 Live Crew - “Ya Bad Self”
  - Big Daddy Kane - “Long Live the Kane”
  - Blackstreet - “Good Lovin’”
  - Brand Nubian - “Dedication”
  - Cypress Hill - “Insane in the Brain”
  - Divine Styler - “It’s a Black Thing”
  - EPMD - “Brothers on My Jock”
  - Eric B and Rakim - “Move the Crowd”
  - Intelligent Hoodlum - “Black and Proud”
  - LL Cool J - “Nitro”
  - Non Step - “Keep ‘em Steppin’”
  - Pete Rock & CL Smooth - “T.R.O.Y.”
  - Real Roxanne - “Her Bad Self”
  - Run-DMC - “Naughty”
  - Salt-N-Pepa - “Do You Really Want Me?”
  - Vanilla Ice - “Ice Cold”
  - West Coast Rap All Stars - “We’re All in the Same Gang”