For me making music is a way of relaxing, thinking about nothing else, just becoming one with melodies and rhythms. I have been fooling around with synthesizers for more than 30 years. Starting with Roland Juno and Jupiter synths I loaned from my babysitter at the time. I evolved over the years from my first Casio to Korg M3R, Kawai K4, Yamaha TG33, Yamaha CS1X, Roland MC303, Korg M3R, Commodore 64, Commodore Amiga, Atari ST, my first Cubase lite and so on, on a journey though music technology. Now I have a little music studio centered around an iMac running Ableton Live 8. The sound card is an external Steinberg CI2. I use two USB controllers: an Akai APC40 and an M-Audio Trigger Finger. I also have a Korg padKONTROL but connecting it has seemed to be overkill so far. Will keep you posted on any change of policy in the future. I mainly use a Roland SH201 as keyboard. It contains good sounds as well so once in a while I throw its sound source into a mix. I connected it via USB to the iMac. Next to the SH201 my instrument collection consists of a Korg Triton proX that is connected through a classic Midi connection (M-Audio midiman anniversary edition). Finally there is a Roland MC909 I hardly ever use because it can only midi synch with Ableton (you can control only one instrument at a time via midi). Although the SH201, MC909 and the Triton are magnificent instruments that easily beat whatever sounds Ableton can generate (especially the Korg in the classic piano and strings section as well as in the synth pad area), you will for now only find songs based on the Ableton sounds here. Call it laziness but recording an audio version of a track using only internal sounds is much easier than tracks that use external sound sources. So far I haven't taken the time of recording sounds coming from the external synths. It has seemed an unsurmountable effort to route the audio exits through the Steinberg CI2s audio inputs. My set-up is completed by a Yamaha MG16/4 mixing console that is sent to two KRK Systems VXT6 studio monitors. 
As far as my music is concerned: these are the results of me having fun in my comfort zone. Do not look for professional, fully edited tracks. I usually have an idea, fool a bit around with it and render the track as final. The results are purposefully raw. Having said that: if you feel the urge to perfect a remix of one of the tracks, I can in most cases provide you with the Ableton project file. 

Update 19/02/2011: 
2011 has brought a clean up and revamping of the set up. I kicked out the MC909. Never used it frankly. The D-Beam controllers are nice but inaccurate. There is one on the SH201 and the Trigger Finger and APC40 offer more than enough freedom to control anything I can imagine. Now that the MC909 is gone, I have more room on my desk. It gives me more space to move around the mouse. I have given up on recording the external synths. I bought two magnificent plug-ins: Ivory II Grand Pianos and the Miroslav Philarmonik collection. They are a definite strain on my poor iMac 1.7Ghz 8Gb Ram. I need a faster machine but will hold off on buying one for now. The new sounds are amazing. It has taken years to convince me but I believe we have finally reached an era where plug-ins sound better than external synths. A fact that I can only applaud because plug-ins make it easier to record as discussed before. I got rid of the Steinberg CI2 card. The USB connection it supports was too slow for the new VST plug-ins and became a bottleneck. The shop where I bought it apologized for ever selling it to me and offered to take it back for 100€. I replaced the CI2 with an Edirol Audio Capture FA-66 FireWire. The difference is astounding. Both the processing speed and the sound quality are unlike anything I have ever seen/heard. Finally I couldn't resist investing in a series of Avox sound processing plug-ins and a Sontronics STC-2 studio mike. The sound processing plug-ins cover auto-tune and ten other harmony/choir and voice color effects. The studio mike is too sensitive. When I try recording audio I need to wear headphones and kill the monitors unless I want to enjoy feedback. That's obvious, but when I move the mouse it sounds like a freight train is driving through the room. I need to create a separate booth for audio recording the mike. In the meantime I'm enjoying the classical sound collections. They inspire me to make symphonic film music. I also want to experiment mixing electronic sounds with the classical ones. We'll see where it leads to. I have uploaded a first throw at a classical piece under Symphonia.     

█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿█̿̿̿̿RenzOzneR█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿█̿̿̿̿

█̿̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿█̿̿̿̿̿̿█harry̿̿̿̿̿█̿̿̿̿█̿̿̿█̿█̿̿̿̿█̿̿̿█̿Steinburgler█͇͇͇█͇͇͇͇█hummer͇͇͇͇͇█͇͇͇͇͇͇█͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇͇█
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                       █̿̿̿̿̿█̿̿̿̿█̿̿̿█̿█̿̿̿̿WHO?█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿█̿̿̿̿

█̿̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿█̿̿̿̿̿̿█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿̿█̿█͇█͇͇█͇͇͇█͇͇͇͇█͇͇͇͇͇█͇͇͇͇͇͇█͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇͇█
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Harry Hammer a.k.a ɹәɯɯnႡ ʎɹɹɐႡ a.k.a Harry Hummer or even known as
Harry Hamster ...  started as an accident. By trying to apply years of experience in surviving on just radiator waves and 12v batteries, to the world of high fashion amongst the lower cast. Freestyle secret recordings of demolition democracy in a digital world..
minna persse kurat.
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█̿̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿█̿̿̿̿̿̿█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿̿█̿█͇█͇͇█͇͇͇█͇͇͇͇█͇͇͇͇͇█͇͇͇͇͇͇█͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇͇█

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Harry Hammer is one of many dumb projects that started just to have some fun from time to time.
Harry is currently living in Amsterdam and sometimes in Tallinn, Estonia and working as a freelance artist, composer and sound-designer for life and theater. 
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█̿̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿█̿̿̿̿̿̿█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿̿█̿█͇█͇͇█͇͇͇█͇͇͇͇█͇͇͇͇͇█͇͇͇͇͇͇█͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇͇█

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Renzo van Steenbergen, nomad, born in The Netherlands, with degrees in Sound and Image and ArtScience, immigrated to Tallinn at the age of 31 after living and working in The Hague as an autonomous allround artist working in the fields of installation art, music and composition, film, live-cinema and contemporary dance and theater since 2001.
Since then, he has composed music and made sound designs for various theater productions and directors in Estonia as well as making music just for the sake of making music in his home studio and in the train.
His music is concerned with issues of energy, density, complexity, movement, simultaneity and violent beauty, and he often works extensively with space as a primary compositional parameter. He thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but rather the art of the transcendence of sound.

Since 2001 he has performed in different formations and collectives such as Feedbacksociety, Noizbeed, Johnny Locash and Sonozon and shown his work at various international venues and festivals such as ;
Machinista Festival (Glasgow)
Garage Festival (Stralsund)
Locall Festival (Athens)
Kanuti Gildi SAAL (Tallinn)
State-X/New Forms (The Hague)
DiskCTM festival (Berlin)
Amsterdam International Film Festival.
Kunsttour (Maastricht)
Sonic Acts Festival (Amsterdam)
Sensoralia festival (Rome)
Steim (Amsterdam)
Von Krahli Theatre (Tallinn)
The Estonia (Tallinn)
Dis-Patch Festival (Belgrade)
Diskurs08 - festival (Giessen)
Rokolectiv festival (Bucarest)


Renzo studied Artscience at the Interfaculty of Image & Sound at the Royal Academy of Fine Arts and the Royal Conservatory in The Hague, where he finished with a Bachelor’s degree. Currently he's living and working part time in Amsterdam and Tallinn, Estonia, where he works as an autonomous artist. 
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also check out:
http://soundcloud.com/renzooh
http://soundcloud.com/sonozon
http://feedbacksociety.com/renzo.htm

~~~/Y\/Y\/Y\/W--.__
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/Y\/Y\/W-.__
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█̿̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿̿█̿̿̿̿̿̿̿█̿̿̿̿̿̿█̿̿̿̿̿█̿̿̿̿█̿̿̿█̿̿█̿█͇█͇͇█͇͇͇█͇͇͇͇█͇͇͇͇͇█͇͇͇͇͇͇█͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇█͇͇͇͇͇͇͇͇͇█
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 - Tallinn - Estonia - Harry Hammer - Renzo van Steenbergen -

concerned with any and all things growth oriented.   read.  meditate.  journal.  train.  we come this way but once, and its our duty to be the best we can, day in and day out

For more than 20 years, Tom Ferry has earned a reputation as a top trainer, motivator, speaker, author and business coach for professionals in the real estate and financial services industries. Tom has conducted trainings for millions of sales people and has personally coached some of the world’s top producing agents.

While many of Tom’s clients earn more than $1 million per year in sales income, Tom’s extraordinary track record crosses all financial levels of agents and brokers. Scores of real estate professionals point to Tom Ferry as the mastermind behind their achieving new levels of productivity, whether in the six- or seven-figure range.

For the last decade, Tom has built a powerhouse in the coaching industry. His charisma, discipline and flexibility, along with his ability to train coaches to teach powerful activity-based techniques, has made him a sell-out draw at conferences and seminars across the globe. Tom’s YouTube Training Channel www.youtube.com/realestatetrainingtf has garnered over 1 million views. With this channel, his mission is to create short, impactful training sessions three times a week and make them accessible for anyone who wants the training.He’s committed to current and fresh content, each and every week!

His clients’ growth is not measured by increased income alone. Tom has an unwavering desire to help his clients work less, eliminate stress, and have more fun, ease, passion and joy in their businesses and lives, thereby leading their businesses by design. As far as Tom is concerned, he succeeds when his clients generate results in their businesses, relationships and personal well being that exceed what they ever thought possible.

Alina Deliss is a singer, songwriter and musician from Moscow, Russia, who is full of creativity, joy and passion.  Her music is concerned about themes of love, faith and the beauty of life.  Alina Deliss draws inspiration from her optimistic outlook on life and strives to encourage, strength and entertain others.  Music is the light that she brings to the world.  The fluidity of the accompanying music is light, flowing and moving. The exceptional quality of the lyrics and the vocals exhibits a particular softness and gentleness that the listeners can understand and receive.  Her lyrics are like a window on a train that contemplates about the past while speeding towards the future.  Alina Deliss is also incredibly feminine in her appearance and performance.   Her maturity, confidence and beauty mirror her positivity and strength. 

Алина Делисс.... Ее образ, показанный во всем своем множестве превосходства, излучает элегантность, грацию и очертания блаженства, пересекается с тонкими нотами современной музыки.

Появление в России творческой личности, излучающей такой душевный стиль, принесло удовлетворение тех эмоциональных желаний и раскрытия потаенных чувств, которых так не хватало и, которые практически были позабыты современной обманчивой атмосфере. Именно в том мире, когда обманчиво кажется, что идеальные возможности постигнуты и идеалы близки как никогда на этом пути человека, ее музыка и образ наполняются редкой, своеобразной, удивительной красотой воплощения женской восхитительности.

Репертуар ее песен наполнен мечтательным исполнением расслабляющих эстрадно-джазовых произведений о любви и отношениях, многие из которых раскрывают большую внутреннюю эмоциональную глубину, чем они были первоначально раскрашены. Или те самые переживания женской души, что она просто воплотила в песнях, которые приятным звучанием будоражат эмоции каждого слушателя.

Emily Duff’s small batch brand of Sweet & Sour Rock & Roll with a great big hit of Country Soul, digs deep, weaving a patchwork of sin, tragedy, romance and regret. A humble servant of song as well as a dark optimist, Emily is a prolific and unique voice at a crazy & crucial time. Born in Flushing Queens, NYC and raised by a pack of cigarettes, her Mama taught her four perfect chords and then ran off, leaving Emily to figure the rest out on her own.  

Emily has recorded and released 5 records in the past 6 years. Two at FAME, the legendary Muscle Shoals, Alabama studio, one at NY Noise and two with producer, Eric “Roscoe” Ambel at his Brooklyn studio, Cowboy Technical Services. Her most recent record, “Razor Blade Smile” produced by Eric “Roscoe” Ambel (Joan Jett, Sarah Borges, Del Lords) takes Emily back to her NYC Street-Punk-Rock-Roots, proving that great songwriting defies genres and transcends playlists.  


“Flushing-born, punk-sparked, country-steeped roots-rocker. Best of 2021” - Robert Christgau

“Duff’s gritty mix of desire and desperation can be found at every turn, a sound seemingly inspired by the unsettled state of a covid-conflicted world.”- American Songwriter

“One Part Muscle Shoals, One Part Patti Smith” - Rolling Stone

“A roadhouse punk rocker — The Clash meets Jerry Lee Lewis” - No Depression

Emily reminds me of some of the great earthy, big-voiced roots singers I loved in the 1970’s— Tracy Nelson, Marcia Ball and more. She borrows from that blues and roots tradition but makes it her very own with her sensitive and personal lyrics.” - Rosanne Cash

 Listen to my 'CRIB RADIO' :
For some straight up DISCO-SOUL JAMS!!!!!!
http://www.crossfaderstudios.com/prochatrooms/index.php?roomID=1
I-phones & Devices:
http://tunein.com/radio/Crib-Radio-with-Jay-Negron-s229167/

 
You can Download the shows here:
 http://ajskidiscomix.blogspot.com/

BIO:
* What is your full name?
Juan Jay Negron 

* Where and when were you born?
July 1956 in TheBronx, NY, USA

* When did you get bitten by the Disco bug?
I always liked fast music with a beat. That started when I was a youngster. I started collecting records at the age of 6. No slow songs, They were all fast with a beat.
(Chubby Checker, DeeDee Sharp, Joey Dee & The
Starliters)
When Disco came out, I was already in.

* How come you started DJ'ing? Was it something you wanted to do, or did
it just "happen"?
It sorta just happened thru my love of music. Let me explain.
When I was a kid (ages 6-13) I used to study radio.
I used to study the DJs; Dan Ingram & Frankie Crocker were my favorite Radio DJs.
At college (1973) I was a Radio DJ at the Lehman College radio station WHLC 590 AM.
I was 16 yrs old and even playing hookey from class to do my show.
It was an uptempo R&B/Funk/Rock show. (Motown/Philly Sound/Rare Earth/Santana)
Eventually I was dropped from school for non-attendance, and the show died with it.

During the next year I met a neighborhood guy named Paul Solari, who was actually a club DJ.
He passed the corner where I was playing my latest cassette featuring some home made edits
of some current hits. ("Masterpiece" by The Temptations, "Jungle Fever", "Living For The City", "Mighty Love")
He liked the edits. He invited me to come to the club and I jumped at the invitation.
Soon he was showing me his craft--beat mixing---Gerrard turntables with no speed control.
He taught me everything, BPM, mixing during the intros & not the vocals, segue, double-copies,
self made extended versions using two 45s. He taught, I listened and got real good at it.
Paul became my mentor. We would spend 18 out of 24 hours together rapping about, disecting, listning to, debating
about MUSIC.

* Who was the first DJ you heard?
The first Club DJ I heard was at a place on W.81 st & Central Park West in 1971.
I was 15 years old and snuck in the club with a false ID. I paid $5 and they gave me a ticket to get a drink--->in the bar next door!!!
The club didn't serve liquor.
It had all kind of different color lights, strobe, and people dancing wall-to-wall.
I immedietly was excited.
He was playing "Funky Nassau"---and that's the first thing I noticed.
I said to myself, I have that record home.
Then he played "Get On The Good Foot" by James Brown.
I said, WOW, I have that too.
I wound up having over 75% of the music he played and that was a boss feeling.
I said to myself, I could do this too.
So I spent the rest of the night watching him go from song to song, using a toggle switch.
No mixing---no cueing---No headphones.
Crowd was screaming to his selection all night.
At the end of the night, I thought, I've got to do this again.
I got bitten by the bug.

* Did you have any DJ "mentor(s)" or someone who influenced you? Some
comments on them?

My mentor/teacher was the man previously mentioned, Paul Solari. I was so young 16 & 1/2 years old so he had to teach me everything:

How to act, how to behave with bosses, who to respect at the club, who to keep away from, etc.

In addition what songs do the club like & don't like.

My taste at the time was very soul, pop & funk orientated.
I didn't know about the 'underground hustle music'.

He taught me that also.

* Could you name some of your personal favorite DJ's of the Disco era?

My absolute favorite was Walter Gibbons.

We used to go to Galaxy 21 after work to listen to him spin. Our clubs closed at 4am---Walter would be getting warmed up around that time. He would go until 11am sometimes. He had his own 'home made' remixes that he would play. He also worked on a 'tri-amp' system in which he would have separate volume controls for the bass, treble, & midrange.

He would work the controls in & out to make a different sound everytime he played the song.

It was incredible. He once played the break from "10%" and "Disco Party" back & forth, changing the bass, horns, & highs in & out, song to song; the place went nuts!!!!

Another DJ I loved was Francois Kervorkian.

He would take chances and be very progressive with his music. At 5am with the crowd screaming on he switched genres and went from "Super Freak" to "Bedsitter" to "Cake" to "Start Me Up" and back to
'D' Train. The crowd screamed even more. And he has remixes no one had. "Bedsitter" & "Cake" were a couple of them--->took me 2 months to find. (imports)

* What do you think made you a top DJ? Any specific skills, special
technics or...?

I didn't invent the wheel or anything. I like to spin with momentum. I don't like to keep it on the same plane. I like to be progressing to an emotional upswing. It has to keep going up or it has to change.

If I see people on the dance floor getting bored even a little, I will change the music completely and start over. I want them hooping & hollering; havin' fun.

Another thing that made me a lil different is that I liked to have my own versions of the top songs. I made lots of plates at Sunshine Sound and even more on reel-to-reel or cassette.

* When did you start DJ'ing? Which was your first gig and how did you get it?

Paul Solari, my teacher/mentor gave me my first gig.

It was at 'The Last Laugh'--it was latin night - Thursday night and I had to play in between The Joe Cuba Sextette, a very popular salsa band from the late 60s. I was young & nervous and Paul would not be there--I was on my own and I did well.
I remember playing "Love's Theme" for the 1st time that night and people asking me "what is that song?".

I knew I was there to stay.

The first 2 places I worked at (Last Laugh & The Playhouse) was very Mob orientated places. I was young & naive to this fact. An older gentleman asked me to play Frank Sinatra; I then told him that I didn't have any and we don't play that here anyway. (I told him with the boldest face that a scrawney 17 year old could muster up)---The boss was there 10 minutes later looking in the closet for an old dusty Sinatra LP that he had stashed just in case; he was very very nervous as he pleaded/ordered me to play it. I naively asked him why? The people will stop dancing. This was at the height of the night. He was shaking at this point and said "Just do it NOW!"


* Have you ever worked with something else - Or is DJ'ing your life?

I've had different great jobs in my life.

I was a bus driver for the New York City Transit Authority for 10 years.(self-explanitory)

and I was a case manager/court liason for NYC T.A.S.C. {Treatment Alternatives for Street Crime}

I assessed defendants in prison for admission into various residential drug treatment programs.

That went on for 10 years.

I had my own problems with addiction.

With the help of Narcotics Anonymous I finally delt with my own demons. One day at a time!!!!!!

* Which clubs (and years) have you played?

The Last Laugh was my first in 1974.(3 months)

The Playhouse was 1975-1976.. (18 months)

Act III was 1976. (4 months)

Tropicalia was 1976-1980 (3 & 1/2 years)

Pegasus was 1980-1982 (18 months)

The Roof Top was 1984. I played there for 3 weekends until I was fired for partying in the booth. (I won't get into it here)

Any favorite club of those?

Obviously Tropicalia 'cause it was the most famous & beautiful club. The Playhouse because I was so young and could play ANYTHING there and they loved it!

* Would you say there Was a different crowd in each of the clubs? Were
there songs that were floorfillers in one club that didn't work in another
club?

Absolutely---In the Bronx, I was well known. People would come to hear me play & to hear NEW music. That was easy. Once I went into Tropicalia in Manhattan, an established club, they didn't care for what I used to play in the Bronx and wanted to be entertained in a different way. They were like 6 months behind in the music, and I had to adjust BIG TIME!!!

When I got to Tropicalia they were into "MIDNIGHT LOVE AFFAIR", "LADY BUMP", & "TRY ME" and in the Bronx we were over those songs already. So I had to get the crowds favor by playing their favorites while training them to like newer music at the same time.

I worked there 5-6 nights a week so it was easy but still a task. Took me the better part of a year to do this. Ask Louis Pegno, who was the doorman. He would see the frustration in me from time to time.

* Can you name some special "anthems" for some of these clubs?

The Playhouse: "ZING WENT THE STRINGS", "DATE WITH THE RAIN", "LA LA PEACE SONG", "WHEN THE FUEL RUNS OUT", "LOOK ME UP", "HONEY BEE"

Tropicalia: "DISCO PARTY", "TEN PERCENT", "DEVIL'S GUN", LOVE & KISSES, "THIS TIME BABY", "MAGIC BIRD OF FIRE", "I FEEL LOVE", "B-2"

Pegasus: "JUST A TOUCH OF LOVE", "JUST A LITTLE BIT OF JAZZ", "I'LL DO ANYTHING FOR YOU", "I'M IN LOVE", "AND THE BEAT GOES ON", "LOVE IS THE MESSAGE", "HEARTBEAT", "GIVE ME", "NIGHTS, FEEL LIKE GETTIN DOWN"

* Any comments or special memories from these clubs?

So many memories!!

Like the time Peter Martins the owner of Tropicalia threw George McCrae out of the DJ booth & club because he wasn't dressed properly (he had a jeans suit on)--Peter thought he was one of my friends from around the way. George was bringing me his latest 12" "LOVE IN MOTION / GIVIN BACK THE FEELIN"

At The Playhouse we booked The Trammps to play live on a saturday night in '75. We thought it would be 4 dudes lip-singing to their hits like American Bandstand or Soul Train. I mean they only has 4 singles out--no album yet--they were pretty cheap to get--only $1100 total for 2 sets.

They came with a 14 piece band--2 vans full, complete with a baby grand piano--they did ALL the Philly Sound hits to perfection: "LOVE TRAIN", "TIME", "BACK STABBERS", "THE LOVE I LOST", "SATISFACTION GUARANTEED", and their 4 singles:

"ZING......", "WHERE DO WE GO FROM HERE / SHOUT", "LOVE EPIDEMIC", & "TRUSTING HEART".

They even did "SEXY" (MFSB's hit at the time).

I was pleasantly shocked!!!!! (for days)


* How did you land your first residency? Which Club was that?

The Playhouse was the first where I was the house DJ.

Paul Solari got US the job; we were partners.

He was like my agent, he did all the talking, all the negotiating, all the scheduling.

The other clubs I got on my own, thru the owner visiting where I was working (Tropicalia) or auditioning (Pegasus).


* Can you tell more about the Tropicalia? The Club, interior, DJ booth, location, bars and so on...

Tropicalia was beautiful. Mirrored walls. Silver shiny dance floor. Very elegant. DJ booth was not huge (one huge step up from the dance floor), but I could fit 3 crates of records in the shelves so it was ample. When you walked in the bar was to the left, tables to the right, bright colors all around, very elegant. Then the back room was huge & dark--flashing lights bouncing off the mirrors & dance floor--it was very hard to see.

* What about Pegasus, where were it located? What did you do when the
building were sold, did you quit DJ'ing, or?

Pegasus was on 2nd Avenue between 63 & 64 street.

I had to earn respect there. I was the only white person in a black club, so on appearence I didn't have much credibility at first. Only the backing of the floor manager who hired me. It took a few nights but I settled in nicely. I knew I was in when the bartender, a LL fan and Paradise Garage member, gave me the thumbs up!!!

When Pegasus was closed I didn't look for a DJ gig right away. The music was changing and the atmosphere was changing. I knew I just couldn't go to ANY club and play what I played to any crowd. Disco was split up to different factions in 1982.

Freestyle & HiNRG clubs abounded where "Funkytown" & "It's Raining Men" & "So Many Men" were must plays and I didn't want to do that.

The clubs that I could play freely were few & far between; and they were taken up already by new & hungrier DJs. Like I was when I was 17-20 years old.

Now I had a full time job (bus driver, paying me well with medical benefits) and I was happy doing private parties once in a while. That's when my problem with addiction went into full bloom. (I missed alot of songs between '84-'90)

* Since you're one of the classic "Disco-DJ's" - have you got
any comments on how the DJ was regarded in the beginning and how it has changed during the years?
Also, any comments on the techniques, equipment and stuff like that?

In the beginning the DJ was the guy who broke the music. In The Playhouse the crowd EXPECTED me to play all the BRAND NEW HOT music at the height of the night--1am. They went there for that. Up to 1980 the DJs ruled. After that Radio ruled. The dancing crowd listened to Disco Radio that would play the same 20 songs and would start expecting the DJs to do the same----and a lot of DJs did. There were many DJs that got good gigs being human juke boxes and that ruined it for many.
Many club owners concerned with business only would hire a DJ that would cater to the radio crowd.

If a DJ balked, he would be 'out' and the owner would hire someone that would.

There were clubs that played 'progressive' but were few and far between.

* Which music is the easiest to mix?

I guess the newer music is because the breaks are prevalent and the beats are constant, but if you are not careful what you program, 'like sounding beats' can get pretty boring. You can be technically the best mixer and have a pretty boring set. It's not always about the mix. It's about the atmosphere & the music you play.

* Easier or harder to mix back in the Disco days compared to today?

Easier to mix today, but harder to judge a dance floor.


* How
would you describe your playing style? Any "trademarks"?

Like noted above, momentum, drama, emotion, & happy music.

* Do you remember/can you tell which was your best gig ever?

Tropicalia & Pegasus are tied.

I could play the new mixed in with the classics at any given time.

* Do you or did you know many of the other great DJ's of the Disco era?

I seen most of them at the record pool (99 Prince St.)
I generally kept with myself & my friends Paul Solari & David C.

David had 2 nights at Ipanema, and then a residency at Coatails Disco.

*Have you got any comments/memories/info about them?

No we did not keep in touch. I have reunited with Paul thru this site. We are in touch now constantly; trading music & reminiscing

* Many Disco DJ's went into remixing as well - have you ever been
remixing?
Only private remixes. Nothing released.

* I know you did the "Hollywood Dub" acetate, did you do other
mixes/remixes as well?

I've done many on acetate (Paul has them all) and on Reel & cassette. The story about the Hollywood Dub is on Disco Patrick's website.

http://www.discopatrick.com/home/14-jay-hollywood.html


* Can you tell how you worked when creating these remixes? And what drove
you to do them?

Mostly Me & Paul were inspired by Tom Moulton & Walter Gibbons. They didn't change the music. They just wanted to get the best part of the song longer & better suited for the dance floor. And that's what I did.

* What about Record Pools- Which did you belong to and when (how long)?
Did you recieve much records from them? Most records you got in a
day/week?

First before the Record Pools, Me & Paul used to go to the record companies to get product. Each company had mostly the same DJs getting music. Then Billy Smith the promo guy of 20th Century Records circulated his list that most of the companies adopted to be "the list"---if you was not on the list, you wasn't getting any music.

I was a charter member of the first record pool called "The Record Pool" at 99 Prince St. It was run by David Mancuso, David Rodriguez, & Steve D'Aquisto.

After politics was going to tear the pool apart many DJs went with Judy Weinstein's "For The Record" run by Eddie Rivera, the 'Cork & Bottle' DJ.

I went to LI Disco DJs run by Jackie McCloy. I knew him and I knew he ran a tight ship. None of his DJs were bogus. The most records I got in a week was around 50 with an average weekly pick up of 35. Only a few were good---lots of BS music being pushed on us at the time.

* Which other DJ's was members of the same Record Pool, any one of them
you were good friends with?

I wasn't "good friends" with any, but I used to pal around with Bacho (everyone did)

* Have you still got your DJ record collection? Or have you sold it off?

I still have most of my records---I used to give at least 100-200 discs away each year ('77-'00)---I figured if I didn't play them, I didn't need them. I was foolish. Wish I had some of 'em back!!--I still have about 2,000 discs behind my couch.

*You must have got a HUGE (and GREAT) collection if you've kept all your
records
during the years.

I kept the cream of the crop.

* Could you name some of your favorite Disco songs? Like some kind of Top
Ten or likewise...

That's always hard! ok, today it's:

"DISCO PARTY"--"10%"--"MY LOVE IS FREE"--"HIT & RUN"--"DOCTOR LOVE"--"DREAMING A DREAM"--"THAT'S WHERE THE HAPPY PEOPLE GO"--"BAD LUCK"--"MAKE IT FUNKY"--"HEARTBEAT"

Did I tell you that I love the Philly Sound??


* Did you like Disco music during that era, or was it just a job? (Since
you were a DJ I guess you liked it !)

It started going bad for me when real commercial bubble gum songs (to me) started being real big hits: "FUNKYTOWN", "IT'S RAINING MEN", "SO MANY MEN", Viola Wills, all the freestyle sounding the same drove me away for awhile. When HOUSE, which I see as a direct decendant of Disco, came on I got interested again. Artists like Ten City, Jamiroquai, C&C, & Incognito brought it back for me.

* If you could choose one Disco track that would describe you, which track
would it be?

"DISCO PARTY" The Trammps.

"you only go around once in life, and it's about time you have some spice; all work & no play makes a very dull day, yea,yea, yo, yaaaaaaaaaaaaaaaaaaaaaoh!!!"

* What kind of music do you personally preffer?

Music that moves me---mostly Disco/House/Funk with momentum.

That narrow it down for you??

I just LOVE music.


* Since you DJ's helped launching many fine artists during the years...
Any special ones you wanna mention?

The Trammps, I told the story above.

* Do you still know or have contact with any other of the old Disco
acts/divas/DJ's from the late 70's early 80's?

None;
Barry White used to hang in Tropicalia every Tues & Weds; He used to have his own table in the corner and would hate when he heard his songs played.

Ashford & Simpson lived across the street from Pegasus and would bring me their latest projects when they would be ready to release them.

Phyliss Hyman used to come to Pegasus all the time.

I am in touch at least every week with Bobby Vitteritti, Lary Sanders, Danny Pooch, and of course my main man Paul Solari; we have become 'best friends' again after all these years!!!

* Anything else you can think of that you wanna tell me about? All
information is very welcome, some fun happenings....
My life is wonderful now. I have a sweetheart (My Patty-Ann) that shares my life & love for this music (not as crazy as I am) and I have my CRIBS RADIO Show with hundreds of listeners where I share my music & my thoughts with on a weekly basis.

WHO GOT IT BETTER THAN ME??????!!

 

匚尺丨丂ㄒ丨卂几ㄖ 卂ㄥᐯ乇丨尺丨几卄ㄖ 卂Ҝ卂 丂Ҝㄚ山卂ㄥҜ乇尺

29ㄚ乇卂尺 ㄖㄥᗪ

He fell in love for the psychedelic music in 2002 and have been all this year just concerned about mixing music and try to train is hears, now he is making his own music with research and effort. Im looking forward to meet great artists with great ideas and thoughts . He started at full on has a guy who likes any good type of electronic music, but during a new phase of his life he started to raise bpms, cause it really helped him finding himself in music and in is life too, Hightech Music is Evolution <3

🅵🅰🆅🅾🆄🆁🅸🆃🅴 🅰🆁🆃🅸🆂🆃🆂 : 🅻🅾🅾🆂🅴 🅲🅾🅽🅽🅴🅲🆃🅸🅾🅽, 🅿🅰🆁🅰🅻🅾🅲🅺🆂, 🅵🆄🆁🅸🅾🆄🆂, 🅲🆁🅰🆉🆈 🅰🆂🆃🆁🅾🅽🅰🆄🆃, 🅲🆈🅱🅴🆁🅷🅴🅽 , 🅺🅸🅽🅳🆉🅰🅳🆉🅰, 🅺🅰🆂🅷🆈🆈🆈🅺, 🅿🅰🆁🅰🅽🅳🆁🅾🅸🅳, 🅸🅽🆂🅴🅲🆃🅾🆁 . 🆈🅰🆃🆉🅴🅴 , 🅴🆇🆃🆁🅰🆃🅴🆁🆁🅴🆂🆃🆁🅸🅰🅻 , 🅼🅸🅼🅸🅲 🆅🅰🆃 , 🅶🅾🆃🅰🅻🅸🅴🅽, 🆂🅷🅾🆄🆃🅾🅽 , 🅼🅴🆃🅰🅵🅾🆁🅼 , 🅸🅽🅽🅴🆁-🅲🅾🅼🅰 , 🅰🅼🆁🅰🆂 , 🅵🆁🅰🅲🆃🅰🅻 🅶🅰🆄🅲🅷🅾🆂 , 🅵🆁🅰🅽🆃🅸🅲 🅽🅾🅸🆂🅴 , 🆂🅴🅻🅴🅲🆃🅸🆅🅴🅼🅾🅾🅳 , 🅿🅰🆂🆃🅾🆁 🅹🅾🅷🅽 , 🅾🆁🅶🅰🅽🅾🅸🆂🅴, 🅰🆃🅸🅼 , 🅿🅴🅰🅺🅿🅸🅻🅾🆃🆂 🅰🅽🅳 🅼🅰🅽🅽🆈 🅼🅰🅽🅽🆈 🅼🅾🆁🅴 ^^

Renzo van Steenbergen, also known as https://soundcloud.com/harry-hammer, nomad, born in The Netherlands, with degrees in Sound and Image and ArtScience, immigrated to Tallinn at the age of 31 after living and working in The Hague as an autonomous allround artist working in the fields of installation art, music and composition, film, live-cinema and contemporary dance and theater since 2001.
Since then, he has composed music and made sound designs for various theater productions and directors in Estonia as well as making music just for the sake of making music in his home studio and in the train.
His music is concerned with issues of energy, density, complexity, movement, simultaneity and violent beauty, and he often works extensively with space as a primary compositional parameter. He thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but rather the art of the transcendence of sound.

Since 2001 he has performed in different formations and collectives and under various names such as Feedbacksociety, Harry Hummer, Noizbeed, Johnny Locash and Sonozon and shown his work at various international venues and festivals such as ;
Machinista Festival (Glasgow)
Garage Festival (Stralsund)
Locall Festival (Athens)
Kanuti Gildi SAAL (Tallinn)
State-X/New Forms (The Hague)
DiskCTM festival (Berlin)
Amsterdam International Film Festival.
Kunsttour (Maastricht)
Sonic Acts Festival (Amsterdam)
Sensoralia festival (Rome)
Steim (Amsterdam)
Von Krahli Theatre (Tallinn)
The Estonia (Tallinn)
Dis-Patch Festival (Belgrade)
Diskurs08 - festival (Giessen)
Rokolectiv festival (Bucarest)

Renzo studied Artscience at the Interfaculty of Image & Sound at the Royal Academy of Fine Arts and the Royal Conservatory in The Hague, where he finished with a Bachelor’s degree. Currently he's living and working part time in Amsterdam and Tallinn, Estonia, where he works as an autonomous artist.
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also check out:
@soundcloud.com/harry-hammer
@soundcloud.com/sonozon
renzooh.com

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