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David Levine has an extraordinarily large collection of international travel ephemera from the 20’s and 30’s. There are some extremely inspiring graphics featured on some of these brochures, and it is quite humbling to imagine that more than 80 years ago someone thought of these great ideas and executed them without the use of a computer. Be sure to check out the brochures from Switzerland.

-THE BAG MESSENGER

THE BAG MESSENGER: Where are you from? What was growing up like for you?

BILLY WERNER: I grew up in Queens, pretty close to the NYC/Long Island border. I hada pretty normal childhood… little league, family trips to the Catskills.. etc. The normal shit for a Jewish kid in New York.

THE BAG MESSENGER: When did you first get into music? Influences?

BILLY WERNER: My mom’s side of the family was musical and my dad collected records so there was typically music playing at home. My parents even got me one of those Columbia House Tape Club memberships where you pick 15 cassettes for a penny and then you have to buy like 6 overpriced cassettes within a year or else you get charged a penalty. I bet most people reading this have no idea what I am referring to… I am old. I started getting my own music, rap and pop, when I was quite young .. I saw Beat Street in the movies in 1983 or 84.. I got real caught up inthe whole rap/breakdancing/graffiti thing (I guess you call it hip hop) even though I was 7 and had no actual real life contact with it. I later got into metal, punk, indie, etc…I have always had music and its associated cultures playing a central role in my life and it was an integral part of how I was raised. My influences range from Black Flag to David Mancuso …essentially, if it is visceral and genuine, I learn from it.

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

BILLY WERNER: I got into collecting rare soul records when I was around 20 or so. That led to attending rare soul events in New York, like the Empire State Soul Club, and so on. I wasn’t much interested in DJ culture, but my interest in nerdy records and meeting nerds, many of whom were twice my age, got me opportunities to share my collection. That was pretty much it. I got a weekly gig at a dive bar on Avenue A and played northern soul and rare groove every Thursday night. I also did a Saturday monthly at the same bar, where we booked guests… All the dudes that went on to create DFA, Tim Goldsworthy, James Murphy, etc. used to come hang out and DJ with us. It was a fun time in NY, before DJ’ing replaced starting a band as the ‘cool’ thing that everyone could do.

THE BAG MESSENGER: Can you speak on David Mancuso and the Loft? Did you attend those parties? Have they affected the way you approach music?

BILLY WERNER: I have attended 4 or 5 Lofts.. They happen quarterly now.. They are still invite only and ‘private’, but Mancuso does them out of a banquet hall now, rather than his house. I’ve never experienced the kind of atmosphere you get at the Loft. You are dancing next to people who have been going for 40 years, celebrities, toddlers, drag queens..it is the most mixed environment I have ever been in and everyone is just there for the music. There is no posturing. Dudes are doing classic Loft dance moves to jazz records that have no drums, the minute the party starts. It is unlike anything you’ve ever seen. These parties have affected everyone that has attended them. “Famous” DJ’s who don’t go to events will still attend the Loft and bring their children. It is the ground work for anything any of us do, no matter what kind of music we play. Mancuso did it first, did it best and will do it until he checks off the planet. The eclectic nature of the selection and the idea that a party is built up and has peaks and valleys has been instrumental in how Robotique is conceived and the type of events we try to present, both musically and in the atmosphere we try to create.

THE BAG MESSENGER: How did you end up in Philly? How is the Philly DJ scene?

BILLY WERNER: I was in a touring punk band that was based in Philadelphia, so it made more sense for me to move here than to stay in NY and commute to rehearsals and recording sessions. The DJ scene here is incredible. A lot of DJ’s poo-poo the whole thing, talking about how Philly sucks and this and that. We are REALLY lucky in this city. If you have a genuine passion and affection for what you do, Philly sees that. There are enough real heads who have stuck it out through good and bad times in the local music scene that know when someone is coming correct or someone is a faker and the people speak up with their attention and their wallets. Because a party is popular this month or this year really means very little. It takes something real to have any kind of staying power in this city. I love that. I also love that Philly DJ’s support each other, seemingly unconditionally. We do our thing but we respect everyone, no matter what kind of music they play, as long as they are coming from the right place.. And we get the same kind of respect in return from people playing all kinds of genres. It’s a good community here, especially if you approach it in a humble way and LEARN from genuine and passionate people, rather than try to criticize them.

THE BAG MESSENGER: What is Robotique? How did it come about? Who have been some of your favorite guest?

BILLY WERNER: Robotique was started in 2007, by myself and Mike Trombley who really got my interest in disco and underground 70s and 80s dance music moving towards where it is now. Before we crossed paths, I only had a passing interest and respect for a lot of the music I now play as opposed to the maniac I’ve turned into. We wanted to do a party together so we started a monthly at Medusa Lounge and the event was born. The first format of the night was disco early and current house late. At some point, we just made it disco the whole night. Mike moved to Detroit, the party moved to Kung Fu Necktie, and I asked my good friend Ryan Todd to join me and here we are. We’ve been weekly for two years now and the party will hit its 3-year anniversary on September 10.

This will sound like the typical cop out but I have enjoyed every guest we have booked. We are lucky that we work at a venue that is (mostly) unconditionally supportive and is open to our ideas. I mean booking the first Philadelphia gigs for Ron Trent, Trus’me, Runaway and Linkwood come to mind as proud moments. Spinna just played, which is insane to think about. King Britt played an insanely eclectic and funky set.. Rich Medina is a monthly resident. We are humbled by the respect all our guests have shown us and the love we get from basically everyone who is local to Philly. All of the guests, regardless of status, bring their A-game to the party and they don’t rely on their names to make the party fun. They really dig for the right music to play. That is crazy to me and we are really fortunate that the party’s reputation commands that kind of approach from the people we book.

THE BAG MESSENGER: When did you first start collecting music? When did disco grab your ear?

BILLY WERNER: I bought my first record when I was 13 or 14. It was probably a punk7”. My interest in 60’s soul, funk and break beats eventually led me to an interest in  disco and modern soul in the late 90’s and early 00’s. As I mentioned earlier, my friendship with Mike Trombley, as well as Apt One (Mike Fichman), Ryan Todd, Shawn Ryan and a handful of otherlocal DJ’s really ignited the fire under my ass to dig way more aggressively than I ever have. DJ’s in Philly know music. You have to be on your game here or you will get chumped by the next person’s digger mitts. It’s not a competition, just an intense appreciation and passion that I haven’t felt from any other locale and it inspires me to dig and listen very carefully and intently.

THE BAG MESSENGER: What kinds of things are you looking for these days? Who are some of your favorite producers?

BILLY WERNER: Without giving too much away, I have been on an LP kick… Lots of private press and European LP’s from the late 70’s up through the mid-80’s have some cuts on them you wouldn’t believe and it cuts across genres. I recently picked up an album from some Russian new-wave/pop group from 1987 that has some material you wouldn’t believe. You listen to it and you’re like “how is this not an Italo or Euro disco holy grail?”. Best rule of thumb is that when you think the well is dry, you are looking in the wrong well. There is no shortage of undiscovered and new music to learn about. As for current producers, I really like The Revenge, Tensnake, Motor City Drum Enesemble… locally, Apt One’s latest single is really killer. You can’t be lazy in this city.. There is music everywhere and lots of it is great.

THE BAG MESSENGER: Any interesting digging stories? Favorite finds?

BILLY WERNER: Nothing too crazy, actually. My digging experience have been relatively boring.. Other than the occasional encounter with Stinky Steve or The Count.. their typical antics and their general appearance and demeanor… Diggers and nerds know these people and everyone has similar stories about them. A sealed copy of ‘Pet Sounds’ for $1 was probably the peak of my discoveries.

THE BAG MESSENGER: How deep in the crates are you?

BILLY WERNER: It’s all relative. Compared to someone like Dam Funk, I am scratching the surface. Compared to what you may hear at Silk City on a Saturday, I am like a trapped miner.

THE BAG MESSENGER: Do you carry a bag? What comes with you every day?

BILLY WERNER: I do! Usually it’s my lunch, my keys and an ipod. I have a streamlined existence.

THE BAG MESSENGER: Whats the key to packing for a gig?

BILLY WERNER: Balancing what you want to hear with where you are playing and who the audience is likely to be. For Robotique, all bets are off and it’s really simple. We pack what we want.

THE BAG MESSENGER: Has Serato changed the way you get down?

BILLY WERNER: I actually had Serato for a period of 6 months and did not enjoy it. I sold it and went back to vinyl. For me, I just did not like using a computer to DJ. I also like the rituals of looking through your records and recognizing them from label art. I respect Serato as a tool and don’t hold against folks that use it, it is just not for me. If you are more asking how has other people using Serato changed my approach to DJing, it really hasn’t.

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

BILLY WERNER: This is a good question after the Serato question. The popularity of digital DJ’ing has made so many clubs and venues ignore the small handful of DJ’s that still use vinyl. You won’t believe how many bigger venues do not trouble shoot their booths and equipment with records because Serato automatically corrects skipping and stability issues. Venues don’t know how to balance their counter weight or calibrate their equipment… For example, it is virtually impossible for us to play at Silk City. As soon as one person starts dancing in front of the booth, the needles are jumping halfway across the record. It’s sorta depressing, but I guess time has moved on without us.

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

BILLY WERNER: The friendships I’ve solidified through Robotique and DJ’ing ingeneral keeps me moving. Receiving unsolicited respect from people I look up to is another benefit to doing what I do.

THE BAG MESSENGER: What do you think DJ culture is going to look like in the next ten> years? (Will technology be the end of us all?)

BILLY WERNER: Good question. Honestly it will probably look about the same. The young kids jumping on the bandwagon…I would say about 20% of those people will actually stick with it, which seems to be about normal. The people playing their first gigs now, will be the grumpy person I am today. I will probably doing gigs at retirement homes.

THE BAG MESSENGER: What can we be looking from you in the future?

BILLY WERNER: Although it’s hard to tell, I am cutting back on non-Robotique gigs to focus on production. Hopefully there will be a record with my name onit at some point before 2011.

Check out Billy Werner on Twitter and keep up with Robotique online

Yesterday was Michael Jackson’s birthday.His music is ever present, and his influence is beyond words. Celebrating the man and the legacy he left us with should be savored, and not rushed. Certain songs will always remain powerful, but it is possible to burn a record out. Michael isn’t going to make another PYT, and the song isn’t going to stop being good. All that being said, there is a time and a place for everything. Which brings us to this weeks mix, Another Part Of MJ Volume 2, a collection of Remixes and reinterpretations selected and mixed by Lil Dave of Ill Vibe. Sometimes it is important to shed personal history with music to realize its true value, you just might remember what you like about to begin with. On this, what is Michael’s 52nd birthday, lets let his music continue to grow.

-The Bag Messenger

Click here for a download link

Micah Lidberg has a wonderful artist portfolio, full of illustrations, patterns, and hand-rendered type. The artist uses a variety of media, including digital, to produce these incredibly detailed works.

-THE BAG MESSENGER

Here is the link to DJ FORTY FIVAN’s Brazilian Leisure mix he did for our mixtape contest a few months back. The man has a lot of really great records and put them to work on this one. Enjoy

-THE BAG MESSENGER

DOWNLOAD FORTY FIVAN’S MIX

Jamaica’s musical history runs deep. It is constantly evolving, shifting in speed, and redefining in sound. Since the 1960’s and the inception of Ska and Rock Steady, the DJ has held a strong hand on the island. With the power to define and spawn new genre’s the DJ with the largest sound system was king. Over time the term sound has been redefined, whittled down, and focused. A large sound no longer just means size. The speakers still rattle and the people still dance, but new sounds are tools carefully tailored for contest, empowered with the power to create or destroy. These new sounds compete for size, the Federation Sound is one of the largest in the world. DJ Kenny Meez founding member of Federation has his hands on the volume with a grin on his face.  

-THE BAG MESSENGER

THE BAG MESSENGER: How did you get into DJ culture? When did you get into shopping for records?

KENNY MEEZ: I used to work at armands records on 11th and Filbert here in Philly, and also after the move to chestnut st. Early before working at a record store I would also come into the city on the weekends to shop. We hit Armands, Sound of market (RIP RANDY FLASH) and Funk-O-Mart. I got into DJ culture early on. I would make remixes (what youngsters call mash ups now), press them on wax, and sell them across the country and around the world. I released my first 12 inch in 1995 and then a slew of 7 inches and 12 inches from there.

THE BAG MESSENGER: When did you first get involved with playing Reggae records? Who got you into this? What was life like for you before Reggae?

KENNY MEEZ: I first got involved with reggae after hearing this Beenie Man record called “Stop Live In The Past” (was renamed Memories for the U.S. release). I heard Cosmo Baker play it this one night in NYC and the next day I went out and bought the 12inch. Before reggae I was a Hip Hop djing playing that and R&B (for the ladies).

THE BAG MESSENGER: How did the Federation come about? Can you explain what it is?

KENNY MEEZ: Federation is an American and Jamaica Sound System that was started by Max Glazer and Cypher Sounds and myself. Federation is now Max Glazer, Kenny Meez (me) and Disco D (R.I.P.) in America and Alric & Boyd in Jamaica. A sound system these days is a group of dj’s who come together under one name to promote music. The biggest part of what makes up a sound system is cutting dubplates. We get a custom recording of a song where the artist bigs up our crew (most of my dubs say federation sound and big up all the dj’s in our crew). We have hundreds of these. Most Sound Systems pay upwards of 1,000 us dollars for one song, so you can imagine the investment that is made in just getting started.

THE BAG MESSENGER: What was your first trip to Jamaica like? Any specific memories?

KENNY MEEZ:  If your into Jamaican music I would say going to Jamaica is similar what a Muslim does when they make a pilgrimage to Mecca. Its just something you have to do. Often it becomes a regular trip either once a year, or sometimes once a month. I love Jamaica and could tell stories for days! Lets just say my first trip involved voicing dubs with Elephant Man.

THE BAG MESSENGER: How has it been getting involved so deeply in Reggae culture without having direct ties to the island? We’re people always accepting?

KENNY MEEZ: In the beginning I used to question it. Not long into my career I began to grow with the culture, and really felt connected to the place. Eventually I was accepted as a Jamaican and no one really questioned me.

THE BAG MESSENGER: What’s up with Sound Clash? Can you describe how the event goes down? 

KENNY MEEZ: Sound Clash is a battle between two or more sound systems. They battle for who has the best dubplates, who can counter act the opposing sounds dubplates, and in many cases they cut dubplates with custom lyrics dissing the opposing sounds. These dubs may only play the night the clash is going on. It’s a big deal.

THE BAG MESSENGER: What’s the clashing scene like? Who are some of your favorite artists to work with?

KENNY MEEZ: AGGRESSIVE! I like working with Chino, Laden, Stephen Mcgregor, Freddie Mcgregor, Big Ship Records, Aidonia, Bounty Killer, Vybz Kartel and El Feco

THE BAG MESSENGER: When did you first start getting dubplates? How does that process work?

KENNY MEEZ: We started voicing dubs from the start of Federation Sound. Our first artist was capleton. In those days you went into the studio worked out the business with artist (the money), then cut the dub to a dat tape.  Usually we split with the instrumental on one track, and vocals on the other track. From there we mix it down and cut the dub to a acetate plate to spin it out.

THE BAG MESSENGER: Who’s really doing it at Sound Clash? What has been big in the past? Who’s hot in dancehall right now?

KENNY MEEZ:  Their are always new sounds coming up. Some of the best are King Addias, Bass Odessy, Black Kat, Mighty Crown, Stone Love. I would say Vybz Kartel is hot in the dancehall right now

THE BAG MESSENGER: You travel a lot, whats the key to packing?

KENNY MEEZ: For me its always about simplicity. One bag for clothes etc. and one bag for my computer/mobile studio. 

Federation Facebook / Kenny Meez Youtube

Before the internet engulfed the real world and eliminated time and space, this mix was only available in Japan. 

-THE BAG MESSENGER

Bruce Black has an enormous collection of  scanned colophons from the 1940’s & 50’s on his website. Each of these marks utilizes a limited color palette and overall shape simplicity. I particularly appreciate the “common” aesthetic found in these marks. They weren’t created to be pretentious or high-end,  but to appeal to the average reader who is simply looking for entertainment.

-THE BAG MESSENGER

Here are a few photos of one of the new bags we will be releasing in our next update. The Cobble Hill Tote is a large chamber canvas tote bag with vegetable tanned leather straps and trim, a side pocket for a phone or an Ipod, and a key organizer. Be on the look out for this as well as other new bags from us shortly.

-THE BAG MESSENGER

Maraid has quite an array of vintage matchbook labels from Eastern Europe on Flickr. It’s fascinating to see the effects created by the bleeding inks and the unpredictable registration associated with printed materials of this scale.

-THE BAG MESSENGER

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.

We are in the thick of Summer and for me its hard not to feel the urge to travel. Maybe its a hold over from trips at the completion of the school year, or the 100 plus degree heat here in Philadelphia, but I just can’t sit still. Here is a mix for you traveling folks, or those of you with an itch to scratch. JEEPNEY Sounds mixed by Canada’s own DJ PUMP. 

-THE BAG MESSENGER

“Jeepneys are the most popular means of public transportation in the Philippines.[1] They were originally made from US military jeeps left over from WWII and are known for their flamboyant decoration and crowded seating. They have become a symbol of Philippine culture”

“Here’s a mix i made in 2007 for Jeepney clothing in Seattle & California area.. I think the original zshare file expired with about 80,000+ downloads (wow!)... Anyway, this was my tribute to late great J Dilla months after he passed. In this mix, you’ll hear 80 mins of real hip hop joints i was feeling at the time mixed with some funk, neo soul and some more rare gems. There’s also a J Dilla tribute mix somewhere in the middle.. Enjoy.”- DJ PUMP

1. Boomin In Your Jeepney Intro 
2. Common – Resurrection (fantastic remix) 
3. Be Break 
4. Ahmad Jamal – Ghetto Child 
5. The Light (dj pump break) 
6. Lupe Fiasco – Kick Push (handle it version) 
7. Linda Clifford – Never Gonna Stop 
8. The Sylvers – Stay Away From Me 
9. Rottin Razcals – Oh Yeah (be easy mix) 
10. Slum Village – Get Dis Money (dilla fix) 
11. J Dilla – Say It! (feat. Ta’Raach & DJ Exile) 
12. Nicolay – I Love The Way You Love (feat. Darien Brockington) 
13. Method Man – Method Man (dj pump remix) 
14. Zhane – Hey Mr. DJ (dj pump version) 
15. Zhane – Request Line (beatapella) 
16. Dwele – I think I Love You 
17. Musiq – ForTheNight 
18. Q-tip – Official 
19. Yesterday’s New Quintet – Uno Esta 
20. Bobbi Humphrey – Uno Esta 
21. Quantic Soul Orchestra – We Got Soul (rob life remix) 
22. El Michels Affair – Glaciers of Ice 
23. Jimi Hendrix – Little Miss Lover 
24. Sly & The Family Stone – Life Of Fortune & Fame 
25. The Roots – Game Theory (feat. Malik B) 
26. Junkyard Band – Sardines 
27. Pharaoh Monch – Body Baby 
28. Consequence – Callin Me 
29. Consequence – The Consequence (feat. Q-tip) 
30. Jazzy Jeff – Whatever U Want (feat. Little Brother) 
31. The Free Design – Don’t Turn Away (sharpshooters mix) 
32. Giorgio Moroder – E=Mc2 
33. DILLA FOREVER – DJ Pump 
34. Kanye West On J Dilla 
35. J Dilla – Dilla’s World (still bangin’ in your jeep) 
36. The Trammps – Rubber Band 
37. Kool & The Gang – Fruitman 
38. Martha Reeves – Sweet Misery 
39. A Tribe Called Quest – 1nce Again (dj pump BKS remix) 
40. J Dilla – Won’t Do 
41. Kanye West – I Still Love H.E.R. 
42. Kanye West, Nas, KRS-One, Rakim – Classic (dj premier remix) 
43. Styles P – Testify 
44. Talib Kweli & Madlib – Happy Home 
45. Black Milk – So Gone 
46. Nas feat. Snoop Dogg – Play On Playa 
47. Marvin Gaye – After The Dance 
48. Once You Get it Break 
49. Steve Arrington – Nobody Can Be You 
50. One Way – Don’t Fight The Feeling 
51. Zapp – Heartbreaker 
52. Slum Village – Give This Ni%$a 
53. Musiq – Miss You 
54. War – Sing A Happy Song 
55. Ghostface Killah feat. Amy Winehouse – You Know I’m No Good 
56. Common /Will I Am – I Have A Dream 
57. Common – Geto Heaven (dj pump remix) 
58. Richard Holmes – Onsaya Joy 
59. Weldon Irvine – We Gettin’ Down 
60. Incredible Bongo Band – In A Gadda Da Vida