Record collector / DJ / Broadcaster / Producer / Brownswood Recordings boss / occasional remixer

“Understanding the order of time is important to anyone hoping to manifest a dream,” says Valerie June. “There is a time to push, and a time to gently tend the garden.”

Since the release of her 2013 breakout Pushin’ Against A Stone, June has been patiently at work in the garden of song, nurturing seedlings with love and care into the lush bloom that is her stunning new album, The Order Of Time. Some songs grew from seeds planted more than a decade ago, others blossomed overnight when she least expected them to, but every track bears the influence of time. See, time has been on June’s mind a lot lately. It’s the only constant in life, even though it’s constantly changing. It’s the healer of all wounds, the killer of all men. It’s at once infinite and finite, ever flowing with twists and turns and brutal, churning rapids that give way to serene stretches of placid tranquility. Fight against the current and it will knock you flat on your ass. Learn to read it, to speak its language, and it will carry you exactly where you’re meant to be.

OKeh short history: 

OKeh was founded by Otto K. E. Heinemann when he set up his own recording studio and gramophone record pressing plant in New York City in September 1918. Heinemann formed the name of the record label "OKeh", from his initials.  OKeh began by issuing popular songs, dance numbers, and vaudeville skits similar to the fare of other labels, but Heineman also wished to experiment with music for audiences neglected by the larger record companies. OKeh produced lines of recordings in German, Czech, Polish, Swedish, and Yiddish for the USA's immigrant communities. In 1920, Ralph Peer's recordings by African-American blues singer Mamie Smith were a surprise smash hit for Okeh. The company perceived the significant, little-tapped market for blues and jazz by African American artists. Louis Armstrong, Duke Ellington and Bix Beiderbecke are only a few names of jazz greats that have recorded for the label. By 1926 Columbia Records bought the label and kept it running into the 60's with jazz and R&B recordings. 

In 1994, Sony Music reactivated the OKeh label as a new-age Blues label. Okeh's first new signings included Keb' Mo, Popa Chubby, and Little Axe. By 2000, the Okeh label was again retired, but in 2013 it will see its re-launch as a jazz label once again.


"Buggin" Malone
Is CEO of Ancestor Records, Kolor Blind Muzik Group and 4 time music award winning artist of the Potawatomi, Ho Chunk, Mohican & Oneida Nations.

Born in Milwaukee, Wisconsin, Wayne Malone's music career began with writing autobiographical lyrics at the age of 15 when he was incarcerated. Seeing freedom and Three years later Buggin Malone was living in the twin cities trying to get his education and left the rough past he was subjected to behind. He put together a band, 2 DJ's, bass player, Spanish style acoustic guitar, percussions, fancy dancer Leon Thompson and traditional tribal songs, went radical on the scenes and "took over the Minneapolis underground stages, rallies and concert venues. Utilizing my knowledge of our struggles to educate and move the crowd... I was on fire." Through activism, music, and community outreach Malone has empowered himself and his listeners. He honors Indigenous traditions and has maintained a direct tone that his fans and the industry have come to trust in his award winning music.

He continues to write original music, perform nationally, sit on discussion panels, and is available for public speaking, interviews, and tours. Buggin Malone looks forward to branching out and collaborating on music and film projects in the U. S. and internationally.

Malone does not dress up his music to cash in on commercial success. Instead, he is a wordsmith who crafts lyrics as they erupt from his soul about children who are abused, women who are raped, elders who are neglected and tribal peoples who are survivors of ethnic cleansing and resistors of federal policies of cultural-religious-linguistic genocide. Malone’s music empowers. His songs are real-life education and historical narratives. That is why “Jai”Those in the music industry recognized Malone as a forerunner in the business
who wrote socio-political music before
it became a fad. Malone is respected as an OG in the business who walked through fire and knows what it is like to suffer.

Malone is respected as an early Rap Artist and activist who pioneered socio-political rap music as an American Indian music genre. He kicked down doors with his revolutionary lyrics during his early career speaking out about social and political injustices burdening Indigenous peoples. Today he continues to collaborate with other activists in the music and film industries, tour, record, produce, and direct while bringing awareness to American Indian and Indigenous experiences globally.

Malone's music style has become profitable for those jumping in to cash in. Malone doesn't live life to cash in. He lives life to share the power he found in music because it saved his own life. This is no game to Malone. People are losing their lives every day in the streets, on the rez, in their homes. Malone writes music that motivates change and lets his listeners know someone hears them. 

Written by Jae Rogers 

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