A New Record Store Is Bringing Latin Vinyl Home to the Mission District
Crate Digging With Bay Area Jazz Saxophonist Howard Wiley
Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business
Now Playing! Profiles in Near-Religious Obsession at DocFest
Bandcamp Announces Vinyl Service, Partnering with Pirates Press in Emeryville
Stranded Records to Add Third Location in New York City
How Sweater Funk DJs Revived Boogie, a Once-Uncool Sound
DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'
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But everyone can agree that the term proliferated in the late ’90s, when turntablism became shorthand for the much-buzzed-about art of playing a turntable as if it were an instrument.\u003c/p>\n\u003cp>[aside postID='arts_13923938']In its heyday, practitioners of turntablism claimed Bronx hip-hop pioneers like Grandmaster Flash and Grand Wizard Theodore as spiritual progenitors, and eschewed digital technology like CD-J players. The movement centered around global competitions like the DMC World DJ Championships and the now-defunct International Turntablist Federation (ITF) competitions. But its spiritual home was the Bay Area, where some of the era’s greatest events and innovations took place.\u003c/p>\n\u003cp>For those few heady years in the late ’90s and early aughts, sales of Technics turntables soared as fans attempted to mimic DMC and ITF all-stars like local heroes Invisibl Skratch Piklz, New York’s X-Men a.k.a. 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Yet for those who enjoy instrumental hip-hop, this sample of crucial turntablism recordings offer plenty of unusual delights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CKI5UxYnEbU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>DJ Qbert, ‘Demolition Pumpkin Squeeze Muzik’ (Dirt Style Records) (1994)\u003c/h2>\n\u003cp>In the early ’90s, DJ Qbert was a DMC champion and a party-rocker capable of toggling between funky breaks and rap 12-inches garlanded with orbitals, flares, and transformer cuts. Among turntablism advocates, \u003cem>Demolition Pumpkin Squeeze Muzik\u003c/em> is a classic example of his early style before he became the avatar of “skratch.” He threads the hour-long session with outtakes from the 1983 graffiti documentary Style Wars and includes routines from Rock Steady members DJ Disk and Shortkut. The original 1994 cassette tape of \u003cem>Demolition\u003c/em> is hard to find now, but you can find streams of it on YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uC8Z8O3sZKE\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>‘Return of the DJ’ (Bomb Hip-Hop) (1995)\u003c/h2>\n\u003cp>Compiled by San Francisco DJ, events promoter, and \u003cem>Bomb\u003c/em> magazine publisher Dave Paul, \u003cem>Return of the DJ\u003c/em> arguably kicked off the turntablism era. It’s an international survey of the scene with contributions from Rob Swift of New York crew the X-Men/X-ecutioners, DJ Babu from L.A. unit the Beat Junkies, Japan’s ASAP Productions, future Phoenix star DJ Z-Trip, and L.A.’s Cut Chemist; as well as Daly City’s Invisibl Skratch Piklz and Mixmaster Mike. But \u003cem>Return of the DJ\u003c/em>’s finest moment arguably belongs to San Francisco producer Peanut Butter Wolf: inspired by Common’s “I Used to Love H.E.R.,” his “The Chronicles (I Will Always Love H.E.R.)” resonates as a melancholy tribute to a culture then reeling from street violence and untimely deaths. Thanks to widespread acclaim — in 1999, Spin magazine named it one of the best albums of the decade — Paul issued four more volumes of \u003cem>Return of the DJ\u003c/em> as well as other compilations that catalogued the global turntablism movement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HORLJvUMs08\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>DJ Shadow, ‘Endtroducing’ (MoWax/ffrr) (1996)\u003c/h2>\n\u003cp>Let’s not relitigate the once-heated debate over whether DJ Shadow’s classic album is “trip-hop” and “electronica.” The Bay Area DJ and producer was very much a part of the local hip-hop scene, a member of Solesides a.k.a. Quannum who contributed guest mixes to KMEL-FM and self-released cassettes like \u003cem>Hip-Hop Reconstruction from the Ground Up\u003c/em>. After a handful of EPs for terminally cool British label Mo Wax, Shadow offered \u003cem>Endtroducing\u003c/em>, a mood piece that’s indebted to David Axelrod’s instrumental jazz-rock as well as DJ Steinski’s cut-and-paste mashups. But close listeners will notice that Shadow utilizes turntable scratches, too, and he loops drum breaks underneath his compositions as if he were beat juggling them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dVtEUxQzOfU\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Mix Master Mike, ‘Anti-Theft Device’ (Asphodel) (1998)\u003c/h2>\n\u003cp>Mix Master Mike’s formal debut after years of b-boy-focused mixtapes like \u003cem>Rescue 916\u003c/em> — the area code for Sacramento, where he lived for a few years — divided fans and critics upon its release. Few expected the Invisibl Skratch Pikl and newly named Beastie Boys DJ to issue a moody collaboration with electronic dub composer and Asphodel owner Mark “Naut Humon” Sprague. Heard today, it sounds like an ambitious attempt to thrust turntablism beyond the scratch-happy funk typical of the form. Mike excels as a rhythmic scratcher, and a close listen will find him subtly muddying Naut Humon’s quirky electro instrumentals. Still, \u003cem>Anti-Theft Device\u003c/em> was inevitably overshadowed by Mike’s star turn on Beastie Boys’ world-conquering album \u003cem>Hello Nasty\u003c/em>, which makes it ripe for rediscovery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JDFLo7_NTi8\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Qbert, ‘Wave Twisters – Episode 7 Million: Sonic Wars Within the Protons’ (Galactic Butt Hair) (1998)\u003c/h2>\n\u003cp>Dave Paul once said that turntablism ultimately didn’t work as a recording genre because after Qbert released the best turntablism album ever, no one could top it. Indeed, \u003cem>Wave Twisters\u003c/em> works as a brilliant conceptual piece filled with the kind of pop arcana that fueled the scene: early ’80s old-school hip-hop, cheesy science-fiction movies, juvenile sex jokes, and Japanese anime. Yet Qbert, who in 1996 had worked on the classic Dr. Octagon album with rapper Kool Keith and producer Dan “the Automator” Nakamura, is also the Jimi Hendrix of turntable scratching. He can construct fanciful music out of percussive noise in a way that, in others’ hands, often seemed unlistenable. In 2001, he turned \u003cem>Wave Twisters\u003c/em> into a surreal animated film directed by Doug “Dug One” Cunningham.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WWh4MzaioAw\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>‘The Shiggar Fraggar Show! Vols. 5-1’ (Hip Hop Slam) (1998-2000)\u003c/h2>\n\u003cp>Despite burgeoning global fame as the best hip-hop DJ crew on the planet, the Invisibl Skratch Piklz never recorded a proper full-length album before splitting up in 2000. (However, they issued several showcases on DVD and VHS such as \u003cem>Turntable TV\u003c/em>.) Their only official EP, a routine from Shortkut, Qbert, and Mix Master Mike titled \u003cem>Invisibl Skratch Piklz vs. Da Klamz Uv Death\u003c/em>, drew a mixed fan reception upon release in 1996. All that makes these sessions recorded for Oakland radio DJ, journalist, and iconoclast Billy Jam’s “Pirate Fuckin’ Radio” broadcasts the best documents of their legendary prowess. Made between 1995 and 1996, \u003cem>The Shiggar Fraggar Show\u003c/em> found the above trio, DJ Disk, DJ Apollo, DJ 8-Ball, MC U.B., and the mysterious Shiggar Fraggar transitioning between cutting up rap 12-inches like LL Cool J’s “I’m Bad” and unfurling their pioneering all-skratching style. With characteristic cheekiness, Billy Jam issued the five sessions on his Hip-Hop Slam imprint in reverse order, with Vol. 5 appearing first in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m7LTQa0MZ1c\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Vinroc, ‘Recon-struction’ (self-released) (1998)\u003c/h2>\n\u003cp>Raised in Jersey City and an award-winning member of the New York crew 5th Platoon before relocating to the Bay Area, Vinroc became an advocate for the roots of hip-hop DJ’ing as a party-rocking artform and eschewed the global boom in scratch-centered turntablism. On his breakout mixtape, \u003cem>Recon-struction\u003c/em>, he elegantly blends crucial numbers by A Tribe Called Quest, Brand Nubian, Public Enemy, and several other golden-age rap heroes. The beat never flags as he displays techniques that seem deceptively simple but, well, are not. Vinroc later formed the DJ crew Triple Threat with Shortkut and DJ Apollo, and they released the 2003 album \u003cem>Many Styles\u003c/em> while earning fans for their blends of rap, soulful R&B, and dancehall reggae.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m4-iYnZtJcI\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>DJ Shadow & Cut Chemist, ‘Brainfreeze’ (Sixty7 Recordings) (1999)\u003c/h2>\n\u003cp>In 1999, DJ Shadow and Cut Chemist headlined one of S.F. promoter Mark Herlihy’s Future Primitive events at the Justice League nightclub. They also sold copies of \u003cem>Brainfreeze\u003c/em>, a classic mix themed around 7-Eleven Slurpees. Utilizing four turntables, Shadow and Cut Chemist blended rare 7-inches by the Mohawks and Rufus Thomas with select raps like Grandmaster Flash & the Furious Five’s “Flash It to the Beat” and, of course, “Unified Rebelution” by Chemist’s group Jurassic 5. As \u003cem>Brainfreeze\u003c/em> became emblematic of a cultural shift towards deep funk and soul from the ’60s and ’70s (also see the Daptone Records label and Amy Winehouse’s \u003cem>Back to Black\u003c/em>), the duo reprised their partnership for subsequent tours and DJs mixes like 2001’s \u003cem>Product Placement\u003c/em> and 2007’s \u003cem>The Hard Sell\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1q0MMravXk0\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>D-Styles, ‘Phantazmagorea’ (Beat Junkie Sound) (2002)\u003c/h2>\n\u003cp>Released at the tail end of the turntablism era, D-Styles’ \u003cem>Phantazmagorea\u003c/em> is impressively hard and Gothic. As a member of several crews, including Beat Junkies and Invisibl Skratch Piklz, the South Bay DJ earned a reputation for mixing turntable scratches with pungent vibes evocative of mobb music producers like Studio Ton and Black C. (His work with the rap group Third Sight, particularly 1998’s \u003cem>The Golden Shower Hour\u003c/em>, is worth seeking out.) Others like Mix Master Mike and DJ Disk flirted with that distinctly Bay Area bass sound, but D-Styles pushes it to an extreme on \u003cem>Phantazmagorea\u003c/em>, creating an ominous splatter-movie tone that’s hardly mirthful.\u003c/p>\n\u003ch3>Honorable Mentions:\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DeepConcentration-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DeepConcentration-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DeepConcentration.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>‘Deep Concentration’ (Om Records) (1998)\u003c/strong>\u003c/p>\n\u003cp>Thanks to then-new San Francisco electronic label Om Records, \u003cem>Deep Concentration\u003c/em> drew a lot of national attention for surveying trends in turntablism and downtempo music. The compilation includes locals such as Eddie Def, Peanut Butter Wolf, and rappers Lyrics Born and Lateef the Truthspeaker.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LiveHuman-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LiveHuman-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LiveHuman.jpg 700w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>Live Human, ‘Elefish Jellyfant’ (Matador) (2000)\u003c/strong>\u003c/p>\n\u003cp>This collaboration between DJ Quest of Bullet Proof Scratch Hamsters a.k.a. Space Travelers, drummer Albert Mathias, and bassist Andrew Kushin brought scratch techniques to the Bay’s long-running bohemian jazz scene.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RicciRuckerMikeBoo-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RicciRuckerMikeBoo-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RicciRuckerMikeBoo.jpg 720w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>Ricci Rucker & Mike Boo, ‘Scetchbook: An Introduction to Scratch Music’ (2002)\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Scetchbook\u003c/em>, Ricci Rucker and Mike Boo split the difference between scratch routines and moody downtempo instrumentals a la DJ Shadow. Their loop of a Prince electric guitar solo is an album highlight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/OaklandFaders-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders.jpg 1087w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>Oakland Faders, ‘Scion CD Sampler Vol. 12’ (2005)\u003c/strong>\u003c/p>\n\u003cp>As the winners of Toyota brand Scion’s 2004 “Free Up Your Mix” competition, the Oakland Faders crew — DJ Platurn, DJ Spair, DJ Mere, Joe Quixx and DJ Ammbush — as well as guest DJ Icewater created a noteworthy look at the brightly melodic sounds that defined Bay Area hip-hop in the aughts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The imagination and skill of Bay Area DJs using the turntable as an instrument is on full display in these essential recordings.","status":"publish","parent":0,"modified":1705003122,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1953},"headData":{"title":"13 of the Bay Area's Best Turntablism Albums | KQED","description":"The imagination and skill of Bay Area DJs using the turntable as an instrument is on full display in these essential recordings.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"13 of the Bay Area's Best Turntablism Albums","datePublished":"2023-11-08T19:16:32.000Z","dateModified":"2024-01-11T19:58:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word ","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937489/best-bay-area-turntablism-scratch-dj-albums","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s debatable who came up with the term “turntablism” — it could have been Daly City’s DJ Disk, or the more widely credited DJ Babu, from Los Angeles. But everyone can agree that the term proliferated in the late ’90s, when turntablism became shorthand for the much-buzzed-about art of playing a turntable as if it were an instrument.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In its heyday, practitioners of turntablism claimed Bronx hip-hop pioneers like Grandmaster Flash and Grand Wizard Theodore as spiritual progenitors, and eschewed digital technology like CD-J players. The movement centered around global competitions like the DMC World DJ Championships and the now-defunct International Turntablist Federation (ITF) competitions. But its spiritual home was the Bay Area, where some of the era’s greatest events and innovations took place.\u003c/p>\n\u003cp>For those few heady years in the late ’90s and early aughts, sales of Technics turntables soared as fans attempted to mimic DMC and ITF all-stars like local heroes Invisibl Skratch Piklz, New York’s X-Men a.k.a. X-ecutioners, Miami’s DJ Craze, New York’s DJ Eclipse and Toronto prodigy A-Trak. Like the Bay Area’s jam-band scene, turntablism was best experienced live, where fans could fully appreciate the difficulty of crafting complex routines out of unsteady turntable needles and vinyl prone to skipping out of place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13812554","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Few turntablists managed to capture that sense of excitement in traditional audio recordings — where far too often, all that scratching could turn into a noisy blur. Yet for those who enjoy instrumental hip-hop, this sample of crucial turntablism recordings offer plenty of unusual delights.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CKI5UxYnEbU'\n title='//www.youtube.com/embed/CKI5UxYnEbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>DJ Qbert, ‘Demolition Pumpkin Squeeze Muzik’ (Dirt Style Records) (1994)\u003c/h2>\n\u003cp>In the early ’90s, DJ Qbert was a DMC champion and a party-rocker capable of toggling between funky breaks and rap 12-inches garlanded with orbitals, flares, and transformer cuts. Among turntablism advocates, \u003cem>Demolition Pumpkin Squeeze Muzik\u003c/em> is a classic example of his early style before he became the avatar of “skratch.” He threads the hour-long session with outtakes from the 1983 graffiti documentary Style Wars and includes routines from Rock Steady members DJ Disk and Shortkut. The original 1994 cassette tape of \u003cem>Demolition\u003c/em> is hard to find now, but you can find streams of it on YouTube.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uC8Z8O3sZKE'\n title='//www.youtube.com/embed/uC8Z8O3sZKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>‘Return of the DJ’ (Bomb Hip-Hop) (1995)\u003c/h2>\n\u003cp>Compiled by San Francisco DJ, events promoter, and \u003cem>Bomb\u003c/em> magazine publisher Dave Paul, \u003cem>Return of the DJ\u003c/em> arguably kicked off the turntablism era. It’s an international survey of the scene with contributions from Rob Swift of New York crew the X-Men/X-ecutioners, DJ Babu from L.A. unit the Beat Junkies, Japan’s ASAP Productions, future Phoenix star DJ Z-Trip, and L.A.’s Cut Chemist; as well as Daly City’s Invisibl Skratch Piklz and Mixmaster Mike. But \u003cem>Return of the DJ\u003c/em>’s finest moment arguably belongs to San Francisco producer Peanut Butter Wolf: inspired by Common’s “I Used to Love H.E.R.,” his “The Chronicles (I Will Always Love H.E.R.)” resonates as a melancholy tribute to a culture then reeling from street violence and untimely deaths. Thanks to widespread acclaim — in 1999, Spin magazine named it one of the best albums of the decade — Paul issued four more volumes of \u003cem>Return of the DJ\u003c/em> as well as other compilations that catalogued the global turntablism movement.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HORLJvUMs08'\n title='//www.youtube.com/embed/HORLJvUMs08'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>DJ Shadow, ‘Endtroducing’ (MoWax/ffrr) (1996)\u003c/h2>\n\u003cp>Let’s not relitigate the once-heated debate over whether DJ Shadow’s classic album is “trip-hop” and “electronica.” The Bay Area DJ and producer was very much a part of the local hip-hop scene, a member of Solesides a.k.a. Quannum who contributed guest mixes to KMEL-FM and self-released cassettes like \u003cem>Hip-Hop Reconstruction from the Ground Up\u003c/em>. After a handful of EPs for terminally cool British label Mo Wax, Shadow offered \u003cem>Endtroducing\u003c/em>, a mood piece that’s indebted to David Axelrod’s instrumental jazz-rock as well as DJ Steinski’s cut-and-paste mashups. But close listeners will notice that Shadow utilizes turntable scratches, too, and he loops drum breaks underneath his compositions as if he were beat juggling them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dVtEUxQzOfU'\n title='//www.youtube.com/embed/dVtEUxQzOfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Mix Master Mike, ‘Anti-Theft Device’ (Asphodel) (1998)\u003c/h2>\n\u003cp>Mix Master Mike’s formal debut after years of b-boy-focused mixtapes like \u003cem>Rescue 916\u003c/em> — the area code for Sacramento, where he lived for a few years — divided fans and critics upon its release. Few expected the Invisibl Skratch Pikl and newly named Beastie Boys DJ to issue a moody collaboration with electronic dub composer and Asphodel owner Mark “Naut Humon” Sprague. Heard today, it sounds like an ambitious attempt to thrust turntablism beyond the scratch-happy funk typical of the form. Mike excels as a rhythmic scratcher, and a close listen will find him subtly muddying Naut Humon’s quirky electro instrumentals. Still, \u003cem>Anti-Theft Device\u003c/em> was inevitably overshadowed by Mike’s star turn on Beastie Boys’ world-conquering album \u003cem>Hello Nasty\u003c/em>, which makes it ripe for rediscovery.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JDFLo7_NTi8'\n title='//www.youtube.com/embed/JDFLo7_NTi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Qbert, ‘Wave Twisters – Episode 7 Million: Sonic Wars Within the Protons’ (Galactic Butt Hair) (1998)\u003c/h2>\n\u003cp>Dave Paul once said that turntablism ultimately didn’t work as a recording genre because after Qbert released the best turntablism album ever, no one could top it. Indeed, \u003cem>Wave Twisters\u003c/em> works as a brilliant conceptual piece filled with the kind of pop arcana that fueled the scene: early ’80s old-school hip-hop, cheesy science-fiction movies, juvenile sex jokes, and Japanese anime. Yet Qbert, who in 1996 had worked on the classic Dr. Octagon album with rapper Kool Keith and producer Dan “the Automator” Nakamura, is also the Jimi Hendrix of turntable scratching. He can construct fanciful music out of percussive noise in a way that, in others’ hands, often seemed unlistenable. In 2001, he turned \u003cem>Wave Twisters\u003c/em> into a surreal animated film directed by Doug “Dug One” Cunningham.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WWh4MzaioAw'\n title='//www.youtube.com/embed/WWh4MzaioAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>‘The Shiggar Fraggar Show! Vols. 5-1’ (Hip Hop Slam) (1998-2000)\u003c/h2>\n\u003cp>Despite burgeoning global fame as the best hip-hop DJ crew on the planet, the Invisibl Skratch Piklz never recorded a proper full-length album before splitting up in 2000. (However, they issued several showcases on DVD and VHS such as \u003cem>Turntable TV\u003c/em>.) Their only official EP, a routine from Shortkut, Qbert, and Mix Master Mike titled \u003cem>Invisibl Skratch Piklz vs. Da Klamz Uv Death\u003c/em>, drew a mixed fan reception upon release in 1996. All that makes these sessions recorded for Oakland radio DJ, journalist, and iconoclast Billy Jam’s “Pirate Fuckin’ Radio” broadcasts the best documents of their legendary prowess. Made between 1995 and 1996, \u003cem>The Shiggar Fraggar Show\u003c/em> found the above trio, DJ Disk, DJ Apollo, DJ 8-Ball, MC U.B., and the mysterious Shiggar Fraggar transitioning between cutting up rap 12-inches like LL Cool J’s “I’m Bad” and unfurling their pioneering all-skratching style. With characteristic cheekiness, Billy Jam issued the five sessions on his Hip-Hop Slam imprint in reverse order, with Vol. 5 appearing first in 1998.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m7LTQa0MZ1c'\n title='//www.youtube.com/embed/m7LTQa0MZ1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Vinroc, ‘Recon-struction’ (self-released) (1998)\u003c/h2>\n\u003cp>Raised in Jersey City and an award-winning member of the New York crew 5th Platoon before relocating to the Bay Area, Vinroc became an advocate for the roots of hip-hop DJ’ing as a party-rocking artform and eschewed the global boom in scratch-centered turntablism. On his breakout mixtape, \u003cem>Recon-struction\u003c/em>, he elegantly blends crucial numbers by A Tribe Called Quest, Brand Nubian, Public Enemy, and several other golden-age rap heroes. The beat never flags as he displays techniques that seem deceptively simple but, well, are not. Vinroc later formed the DJ crew Triple Threat with Shortkut and DJ Apollo, and they released the 2003 album \u003cem>Many Styles\u003c/em> while earning fans for their blends of rap, soulful R&B, and dancehall reggae.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m4-iYnZtJcI'\n title='//www.youtube.com/embed/m4-iYnZtJcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>DJ Shadow & Cut Chemist, ‘Brainfreeze’ (Sixty7 Recordings) (1999)\u003c/h2>\n\u003cp>In 1999, DJ Shadow and Cut Chemist headlined one of S.F. promoter Mark Herlihy’s Future Primitive events at the Justice League nightclub. They also sold copies of \u003cem>Brainfreeze\u003c/em>, a classic mix themed around 7-Eleven Slurpees. Utilizing four turntables, Shadow and Cut Chemist blended rare 7-inches by the Mohawks and Rufus Thomas with select raps like Grandmaster Flash & the Furious Five’s “Flash It to the Beat” and, of course, “Unified Rebelution” by Chemist’s group Jurassic 5. As \u003cem>Brainfreeze\u003c/em> became emblematic of a cultural shift towards deep funk and soul from the ’60s and ’70s (also see the Daptone Records label and Amy Winehouse’s \u003cem>Back to Black\u003c/em>), the duo reprised their partnership for subsequent tours and DJs mixes like 2001’s \u003cem>Product Placement\u003c/em> and 2007’s \u003cem>The Hard Sell\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1q0MMravXk0'\n title='//www.youtube.com/embed/1q0MMravXk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>D-Styles, ‘Phantazmagorea’ (Beat Junkie Sound) (2002)\u003c/h2>\n\u003cp>Released at the tail end of the turntablism era, D-Styles’ \u003cem>Phantazmagorea\u003c/em> is impressively hard and Gothic. As a member of several crews, including Beat Junkies and Invisibl Skratch Piklz, the South Bay DJ earned a reputation for mixing turntable scratches with pungent vibes evocative of mobb music producers like Studio Ton and Black C. (His work with the rap group Third Sight, particularly 1998’s \u003cem>The Golden Shower Hour\u003c/em>, is worth seeking out.) Others like Mix Master Mike and DJ Disk flirted with that distinctly Bay Area bass sound, but D-Styles pushes it to an extreme on \u003cem>Phantazmagorea\u003c/em>, creating an ominous splatter-movie tone that’s hardly mirthful.\u003c/p>\n\u003ch3>Honorable Mentions:\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DeepConcentration-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DeepConcentration-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DeepConcentration.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>‘Deep Concentration’ (Om Records) (1998)\u003c/strong>\u003c/p>\n\u003cp>Thanks to then-new San Francisco electronic label Om Records, \u003cem>Deep Concentration\u003c/em> drew a lot of national attention for surveying trends in turntablism and downtempo music. The compilation includes locals such as Eddie Def, Peanut Butter Wolf, and rappers Lyrics Born and Lateef the Truthspeaker.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LiveHuman-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LiveHuman-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LiveHuman.jpg 700w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>Live Human, ‘Elefish Jellyfant’ (Matador) (2000)\u003c/strong>\u003c/p>\n\u003cp>This collaboration between DJ Quest of Bullet Proof Scratch Hamsters a.k.a. Space Travelers, drummer Albert Mathias, and bassist Andrew Kushin brought scratch techniques to the Bay’s long-running bohemian jazz scene.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/RicciRuckerMikeBoo-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RicciRuckerMikeBoo-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/RicciRuckerMikeBoo.jpg 720w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>Ricci Rucker & Mike Boo, ‘Scetchbook: An Introduction to Scratch Music’ (2002)\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Scetchbook\u003c/em>, Ricci Rucker and Mike Boo split the difference between scratch routines and moody downtempo instrumentals a la DJ Shadow. Their loop of a Prince electric guitar solo is an album highlight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-13937751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/OaklandFaders-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/OaklandFaders.jpg 1087w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cbr>\n\u003cstrong>Oakland Faders, ‘Scion CD Sampler Vol. 12’ (2005)\u003c/strong>\u003c/p>\n\u003cp>As the winners of Toyota brand Scion’s 2004 “Free Up Your Mix” competition, the Oakland Faders crew — DJ Platurn, DJ Spair, DJ Mere, Joe Quixx and DJ Ammbush — as well as guest DJ Icewater created a noteworthy look at the brightly melodic sounds that defined Bay Area hip-hop in the aughts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937489/best-bay-area-turntablism-scratch-dj-albums","authors":["11855"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_21712","arts_21713","arts_10278","arts_17218","arts_19347","arts_21711","arts_3741"],"featImg":"arts_13937774","label":"source_arts_13937489"},"arts_13931586":{"type":"posts","id":"arts_13931586","meta":{"index":"posts_1591205157","site":"arts","id":"13931586","score":null,"sort":[1689357742000]},"guestAuthors":[],"slug":"discodelic-brings-latin-vinyl-home-to-the-mission-district","title":"A New Record Store Is Bringing Latin Vinyl Home to the Mission District","publishDate":1689357742,"format":"aside","headTitle":"A New Record Store Is Bringing Latin Vinyl Home to the Mission District | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13931714\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut.jpg\" alt=\"Three people in front of a window with a large tiger mural painted on it\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-owners (from left) Ruben “Ruffy” Rangel, Maria Jose “Majoo” Salguero, and Miles Ake stand outside their record store Discodelic Disco Viajantes on 24th Street in San Francisco’s Mission District on July 15, 2023, during a grand opening celebration. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its bold block letters above 24th Street, the \u003ca href=\"https://missionloca.s3.amazonaws.com/mission/wp-content/uploads/2017/08/24th-Street_Photo-by-Ekevara-Kitpowsong-6668.jpg\">Discolandia\u003c/a> sign is an icon of the Mission District. But Discolandia, a Latin-focused record store, \u003ca href=\"https://missionlocal.org/2018/04/a-blast-from-the-past-discolandia/\">closed over a decade ago\u003c/a>. Since then, there’s been no record store in the neighborhood that caters specifically to the Mission’s Latinx population.\u003c/p>\n\u003cp>That finally changes this week with the July 15 opening of Discodelic, which specializes in vinyl from Latin American and Caribbean countries, offering Latin soul, cumbia, salsa, boleros, Cuban music, reggae and more.\u003c/p>\n\u003cp>[aside postid='arts_11835183']The store, a physical home for the record label of the same name, will operate at 3174 24th St., in a space where two vinyl record stores, Pyramid Records and Explorist International, once stood years ago.\u003c/p>\n\u003ch2>A musical archaeological expedition\u003c/h2>\n\u003cp>Discodelic founders Ruben “Ruffy” Rangel, 43, and Maria Jose “Majoo” Salguero, 30, met through MySpace 13 years ago, bonding over their shared love of ska, rocksteady and reggae. Their conversations soon grew into travel plans.\u003c/p>\n\u003cp>“Since the ’90s, I have always been looking for discos in stores, at swap meets, everywhere,” said Rangel. “But I never traveled much until I started traveling together with Majoo.”\u003c/p>\n\u003cfigure id=\"attachment_13931636\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED.jpg\" alt=\"Records fill the bins at Discodelic Disco Viajantes record store\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Records start to fill the bins at Discodelic Disco Viajantes record store in San Francisco’s Mission District on July 13, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo began to travel all over Central America, looking for vinyl that was pressed in the 1960s and 1970s, much of which was presumed lost due to wars in the region.\u003c/p>\n\u003cp>While both were passionate about their mission, it was especially meaningful for Salguero, who is Salvadoran; record stores were practically nonexistent in the country in the early 2010s. This crate-digging mission turned out to be a musical archaeological expedition.\u003c/p>\n\u003cp>“We went to old bodegas, old radio stations, and houses,” Rangel said. “We went looking for artists, old labels that were closed for decades, and we ended up accumulating a large amount of old recordings.”\u003c/p>\n\u003cfigure id=\"attachment_13931634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Dig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Dig-800x380.jpg\" alt=\"in a diptych, two people search through records and 45s\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-1536x729.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig.jpg 2023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Once the Discodelic team arrives in a country, they look through old bodegas, old radio stations and defunct record label warehouses. At left, Majoo searches through a collection spread throughout a bedroom in Perú. Ruffy is seen searching through a collection of 45s in Costa Rica. \u003ccite>(Courtesy of Discodelic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2015, the duo opened their first brick-and-mortar record store, Discodelic, in El Salvador. But they weren’t content to just sell records — they began to track down musicians and collaborate with record labels to reissue some of the older records they’d found. This soon became their \u003ca href=\"https://discodelic.bandcamp.com/music\">very own reissue label\u003c/a> — also named Discodelic — which now has 10 releases under its belt.\u003c/p>\n\u003cp>“In the beginning, we knew we only wanted to be in El Salvador for one year because we’re ‘Discos Viajantes de Otros Dimensions (Traveling Vinyl Discs from Other Dimensions),’” Rangel said, a name that came out of years spend traveling around Central America to find vinyl. “We stayed in El Salvador to start a vinyl community there.”\u003c/p>\n\u003cfigure id=\"attachment_13931632\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DIscodelic.Duo_.jpeg\" alt=\"a Latino man and a Latina woman stand together outside the door of a record store they own\" width=\"960\" height=\"719\" class=\"size-full wp-image-13931632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_-768x575.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ruben ‘Ruffy’ Rangel and María José ‘Majoo’ Salguero stand outside their store, Discodelic, in Guatemala in 2016. \u003ccite>(Courtesy of Discodelic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the Salvadoran store was a success, attracting young people first learning about vinyl as well as older folks who shared stories about the music, Rangel and Salguero decided to pack it up in 2016 and move to Guatemala.\u003c/p>\n\u003cp>Rangel wanted to bring something to Guatemala beyond the retail store, so the Discodelic duo began connecting with DJs in Guatemala and from other countries to start parties, working with artists and DJs from Mexico, Japan, Costa Rica, Germany and more. Soon, the duo’s interests expanded beyond Central American music. They set off to visit neighboring countries like the Dominican Republic, Jamaica, Trinidad and Tobago, Cuba, Barbados and Panama.\u003c/p>\n\u003cfigure id=\"attachment_13931631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Kenya.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Kenya-800x581.jpg\" alt=\"two Latinx people and two Kenyan people stand holding 45s in a village in Kenya\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya.jpg 1842w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The duo behind Discodelic, in the middle of an 18-month world tour to find vinyl and 45s. Here they are pictured visiting with music fans in Kenya. \u003ccite>(Courtesy of Discodelic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to buying valuable records in countries where vinyl might not be popular anymore, Rangel said that Discodelic maintains their own code of ethics, and they want to be known for paying a fair price.\u003c/p>\n\u003cp>“When we went to Mexico, we gained a sort of reputation,” Rangel said. “‘The Discodelics are the crazy ones who go around the world looking for strange discos.’”\u003c/p>\n\u003ch2>The San Franciscan connection\u003c/h2>\n\u003cp>Making DJ connections at parties came easily for Rangel and Salguero. One night, they befriended a 37-year-old San Franciscan named Miles Ake, a chef and a part-time DJ.\u003c/p>\n\u003cfigure id=\"attachment_13931713\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut.jpg\" alt=\"A young woman in a blue jacket and glasses browses a record bin\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karla Herrera browses records at Discodelic Disco Viajantes on 24th Street in San Francisco’s Mission District on July 15, 2023, during a grand opening celebration for the record store. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, Discodelic invited Ake to DJ at a music festival in Mexico City called Latinos Con Soul. Ake helped the duo with contacts in the States and with shipping vinyl. Working together, the three brought the festival \u003ca href=\"https://dothebay.com/events/2018/11/3/revoluciones-tropisoul-festival-djs-xicasoul-philippe-noel-ruffy-tnt\">TropiSol\u003c/a> to the Bay Area in the same year.\u003c/p>\n\u003cp>That reputation and connections helped the store flourish — but again, the duo missed traveling. So in the same year, they packed their house into a storage room and went on an 18-month tour to buy more vinyl, visiting Guyana, Surname, Turkey, Ethiopia, Egypt, Kenya, Portugal, Bolivia and Peru.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3VICu0BAxhI\u003c/p>\n\u003cp>Soon after the duo’s return to Mexico, the COVID-19 pandemic hit, and closed the physical Discodelic storefront.\u003c/p>\n\u003cp>Around the same time, back in San Francisco, Miles Ake lost his job as a chef. Ake suggested the duo open a Discodelic store in the Bay.\u003c/p>\n\u003cp>“I knew that the location of a Discodelic would be perfect on 24th Street,” Ake said. “It’s just a way to bring back a Latin record store to the neighborhood.”\u003c/p>\n\u003cp>Ake also knew that there was a local scene ready to support and benefit from a Latin and Caribbean-focused record store, with the DJ collective Chulita Vinyl Club, Latin soul collectives, vinyl collectors and numerous Bay Area fans all eager to embrace a new space.\u003c/p>\n\u003cfigure id=\"attachment_13931712\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-owners Ruben “Ruffy” Rangel and Maria Jose “Majoo” Salguero talk with shoppers at Discodelic Disco Viajantes on 24th Street in San Francisco’s Mission District on July 15, 2023, during a grand opening celebration. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The store on 24th Street\u003c/h2>\n\u003cp>The three business owners have an ambitious plan for the storefront, promising art exhibitions, conferences, the launch of their book publishing company Que Bonito, a podcast and, of course, DJ events.\u003c/p>\n\u003cp>LPs and 45s on offer represent a wide range of artists, from Latin America and beyond, including Joe Baatan, Ralfi Pagan, Clive Zanda, The Skatalites, Rabbits & Carrots, Leo Acosta, Mulatu Astatke and Poder de Alma. One of Ruben’s favorites is Leo Soto’s “Caballo Psicodelico,” a rare 45 they were able to find in Mexico.\u003c/p>\n\u003cp>Discodelic’s inventory will also include records from their own label, and new music the team enjoys, like that of \u003ca href=\"https://earenas.bandcamp.com/music\">É Arenas\u003c/a>, a founding member of Chicano Batman. There’s also Bay Area music, like Oakland’s \u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicoso\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/discodelic.poster.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/discodelic.poster-800x533.jpg\" alt=\"a poster from a concert in panama hangs on the wall of a record store\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork and records fill the wall at Discodelic. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The prices also vary widely, with some records priced at $10, and other rarer ones at $80, $500 and up to $800. Those are special outliers, though, and “we have a lot of classic records at accessible prices,” Rangel said.\u003c/p>\n\u003cp>While in San Francisco, Discodelics’ founders want to strengthen connections here: they hope to collaborate on events or reissues with Jose “Chepito” Arias, a percussionist who recorded with Santana, as well as Poder de Alma in San Leandro, and Los Vampiros, who hail from Stockton.\u003c/p>\n\u003cp>“We want this place to be a place of entry for nostalgia,” Salguero said. “What better place than the Mission District?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Launched by a world-traveling DJ crew, Discodelic will highlight Latin soul, salsa, reggae and more. ","status":"publish","parent":0,"modified":1705005273,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1425},"headData":{"title":"A New Record Store Is Bringing Latin Vinyl Home to the Mission District | KQED","description":"Launched by a world-traveling DJ crew, Discodelic will highlight Latin soul, salsa, reggae and more. ","ogTitle":"A New Record Store is Bringing Latin Vinyl Home to the Mission District","ogDescription":"Launched by a world-traveling DJ crew, Discodelic will highlight Latin soul, salsa, reggae and more.","ogImgId":"","twTitle":"A New Record Store is Bringing Latin Vinyl Home to the Mission District","twDescription":"Launched by a world-traveling DJ crew, Discodelic will highlight Latin soul, salsa, reggae and more.","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Record Store Is Bringing Latin Vinyl Home to the Mission District","datePublished":"2023-07-14T18:02:22.000Z","dateModified":"2024-01-11T20:34:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931714\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut.jpg\" alt=\"Three people in front of a window with a large tiger mural painted on it\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67022_230715-Discodelic-11-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-owners (from left) Ruben “Ruffy” Rangel, Maria Jose “Majoo” Salguero, and Miles Ake stand outside their record store Discodelic Disco Viajantes on 24th Street in San Francisco’s Mission District on July 15, 2023, during a grand opening celebration. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its bold block letters above 24th Street, the \u003ca href=\"https://missionloca.s3.amazonaws.com/mission/wp-content/uploads/2017/08/24th-Street_Photo-by-Ekevara-Kitpowsong-6668.jpg\">Discolandia\u003c/a> sign is an icon of the Mission District. But Discolandia, a Latin-focused record store, \u003ca href=\"https://missionlocal.org/2018/04/a-blast-from-the-past-discolandia/\">closed over a decade ago\u003c/a>. Since then, there’s been no record store in the neighborhood that caters specifically to the Mission’s Latinx population.\u003c/p>\n\u003cp>That finally changes this week with the July 15 opening of Discodelic, which specializes in vinyl from Latin American and Caribbean countries, offering Latin soul, cumbia, salsa, boleros, Cuban music, reggae and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11835183","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The store, a physical home for the record label of the same name, will operate at 3174 24th St., in a space where two vinyl record stores, Pyramid Records and Explorist International, once stood years ago.\u003c/p>\n\u003ch2>A musical archaeological expedition\u003c/h2>\n\u003cp>Discodelic founders Ruben “Ruffy” Rangel, 43, and Maria Jose “Majoo” Salguero, 30, met through MySpace 13 years ago, bonding over their shared love of ska, rocksteady and reggae. Their conversations soon grew into travel plans.\u003c/p>\n\u003cp>“Since the ’90s, I have always been looking for discos in stores, at swap meets, everywhere,” said Rangel. “But I never traveled much until I started traveling together with Majoo.”\u003c/p>\n\u003cfigure id=\"attachment_13931636\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED.jpg\" alt=\"Records fill the bins at Discodelic Disco Viajantes record store\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS66971_230713-DiscodelicRecords-18-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Records start to fill the bins at Discodelic Disco Viajantes record store in San Francisco’s Mission District on July 13, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo began to travel all over Central America, looking for vinyl that was pressed in the 1960s and 1970s, much of which was presumed lost due to wars in the region.\u003c/p>\n\u003cp>While both were passionate about their mission, it was especially meaningful for Salguero, who is Salvadoran; record stores were practically nonexistent in the country in the early 2010s. This crate-digging mission turned out to be a musical archaeological expedition.\u003c/p>\n\u003cp>“We went to old bodegas, old radio stations, and houses,” Rangel said. “We went looking for artists, old labels that were closed for decades, and we ended up accumulating a large amount of old recordings.”\u003c/p>\n\u003cfigure id=\"attachment_13931634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Dig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Dig-800x380.jpg\" alt=\"in a diptych, two people search through records and 45s\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-1536x729.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Dig.jpg 2023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Once the Discodelic team arrives in a country, they look through old bodegas, old radio stations and defunct record label warehouses. At left, Majoo searches through a collection spread throughout a bedroom in Perú. Ruffy is seen searching through a collection of 45s in Costa Rica. \u003ccite>(Courtesy of Discodelic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2015, the duo opened their first brick-and-mortar record store, Discodelic, in El Salvador. But they weren’t content to just sell records — they began to track down musicians and collaborate with record labels to reissue some of the older records they’d found. This soon became their \u003ca href=\"https://discodelic.bandcamp.com/music\">very own reissue label\u003c/a> — also named Discodelic — which now has 10 releases under its belt.\u003c/p>\n\u003cp>“In the beginning, we knew we only wanted to be in El Salvador for one year because we’re ‘Discos Viajantes de Otros Dimensions (Traveling Vinyl Discs from Other Dimensions),’” Rangel said, a name that came out of years spend traveling around Central America to find vinyl. “We stayed in El Salvador to start a vinyl community there.”\u003c/p>\n\u003cfigure id=\"attachment_13931632\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DIscodelic.Duo_.jpeg\" alt=\"a Latino man and a Latina woman stand together outside the door of a record store they own\" width=\"960\" height=\"719\" class=\"size-full wp-image-13931632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DIscodelic.Duo_-768x575.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ruben ‘Ruffy’ Rangel and María José ‘Majoo’ Salguero stand outside their store, Discodelic, in Guatemala in 2016. \u003ccite>(Courtesy of Discodelic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the Salvadoran store was a success, attracting young people first learning about vinyl as well as older folks who shared stories about the music, Rangel and Salguero decided to pack it up in 2016 and move to Guatemala.\u003c/p>\n\u003cp>Rangel wanted to bring something to Guatemala beyond the retail store, so the Discodelic duo began connecting with DJs in Guatemala and from other countries to start parties, working with artists and DJs from Mexico, Japan, Costa Rica, Germany and more. Soon, the duo’s interests expanded beyond Central American music. They set off to visit neighboring countries like the Dominican Republic, Jamaica, Trinidad and Tobago, Cuba, Barbados and Panama.\u003c/p>\n\u003cfigure id=\"attachment_13931631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Kenya.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Discodelic-Kenya-800x581.jpg\" alt=\"two Latinx people and two Kenyan people stand holding 45s in a village in Kenya\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Discodelic-Kenya.jpg 1842w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The duo behind Discodelic, in the middle of an 18-month world tour to find vinyl and 45s. Here they are pictured visiting with music fans in Kenya. \u003ccite>(Courtesy of Discodelic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to buying valuable records in countries where vinyl might not be popular anymore, Rangel said that Discodelic maintains their own code of ethics, and they want to be known for paying a fair price.\u003c/p>\n\u003cp>“When we went to Mexico, we gained a sort of reputation,” Rangel said. “‘The Discodelics are the crazy ones who go around the world looking for strange discos.’”\u003c/p>\n\u003ch2>The San Franciscan connection\u003c/h2>\n\u003cp>Making DJ connections at parties came easily for Rangel and Salguero. One night, they befriended a 37-year-old San Franciscan named Miles Ake, a chef and a part-time DJ.\u003c/p>\n\u003cfigure id=\"attachment_13931713\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut.jpg\" alt=\"A young woman in a blue jacket and glasses browses a record bin\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67018_230715-Discodelic-02-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karla Herrera browses records at Discodelic Disco Viajantes on 24th Street in San Francisco’s Mission District on July 15, 2023, during a grand opening celebration for the record store. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, Discodelic invited Ake to DJ at a music festival in Mexico City called Latinos Con Soul. Ake helped the duo with contacts in the States and with shipping vinyl. Working together, the three brought the festival \u003ca href=\"https://dothebay.com/events/2018/11/3/revoluciones-tropisoul-festival-djs-xicasoul-philippe-noel-ruffy-tnt\">TropiSol\u003c/a> to the Bay Area in the same year.\u003c/p>\n\u003cp>That reputation and connections helped the store flourish — but again, the duo missed traveling. So in the same year, they packed their house into a storage room and went on an 18-month tour to buy more vinyl, visiting Guyana, Surname, Turkey, Ethiopia, Egypt, Kenya, Portugal, Bolivia and Peru.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3VICu0BAxhI'\n title='//www.youtube.com/embed/3VICu0BAxhI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soon after the duo’s return to Mexico, the COVID-19 pandemic hit, and closed the physical Discodelic storefront.\u003c/p>\n\u003cp>Around the same time, back in San Francisco, Miles Ake lost his job as a chef. Ake suggested the duo open a Discodelic store in the Bay.\u003c/p>\n\u003cp>“I knew that the location of a Discodelic would be perfect on 24th Street,” Ake said. “It’s just a way to bring back a Latin record store to the neighborhood.”\u003c/p>\n\u003cp>Ake also knew that there was a local scene ready to support and benefit from a Latin and Caribbean-focused record store, with the DJ collective Chulita Vinyl Club, Latin soul collectives, vinyl collectors and numerous Bay Area fans all eager to embrace a new space.\u003c/p>\n\u003cfigure id=\"attachment_13931712\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67019_230715-Discodelic-06-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-owners Ruben “Ruffy” Rangel and Maria Jose “Majoo” Salguero talk with shoppers at Discodelic Disco Viajantes on 24th Street in San Francisco’s Mission District on July 15, 2023, during a grand opening celebration. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The store on 24th Street\u003c/h2>\n\u003cp>The three business owners have an ambitious plan for the storefront, promising art exhibitions, conferences, the launch of their book publishing company Que Bonito, a podcast and, of course, DJ events.\u003c/p>\n\u003cp>LPs and 45s on offer represent a wide range of artists, from Latin America and beyond, including Joe Baatan, Ralfi Pagan, Clive Zanda, The Skatalites, Rabbits & Carrots, Leo Acosta, Mulatu Astatke and Poder de Alma. One of Ruben’s favorites is Leo Soto’s “Caballo Psicodelico,” a rare 45 they were able to find in Mexico.\u003c/p>\n\u003cp>Discodelic’s inventory will also include records from their own label, and new music the team enjoys, like that of \u003ca href=\"https://earenas.bandcamp.com/music\">É Arenas\u003c/a>, a founding member of Chicano Batman. There’s also Bay Area music, like Oakland’s \u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicoso\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/discodelic.poster.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/discodelic.poster-800x533.jpg\" alt=\"a poster from a concert in panama hangs on the wall of a record store\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/discodelic.poster.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork and records fill the wall at Discodelic. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The prices also vary widely, with some records priced at $10, and other rarer ones at $80, $500 and up to $800. Those are special outliers, though, and “we have a lot of classic records at accessible prices,” Rangel said.\u003c/p>\n\u003cp>While in San Francisco, Discodelics’ founders want to strengthen connections here: they hope to collaborate on events or reissues with Jose “Chepito” Arias, a percussionist who recorded with Santana, as well as Poder de Alma in San Leandro, and Los Vampiros, who hail from Stockton.\u003c/p>\n\u003cp>“We want this place to be a place of entry for nostalgia,” Salguero said. “What better place than the Mission District?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district","authors":["11764"],"categories":["arts_1","arts_69"],"tags":["arts_11374","arts_2241","arts_2852","arts_10278","arts_2519","arts_1257","arts_905","arts_3741"],"featImg":"arts_13931715","label":"arts"},"arts_13927947":{"type":"posts","id":"arts_13927947","meta":{"index":"posts_1591205157","site":"arts","id":"13927947","score":null,"sort":[1681918252000]},"guestAuthors":[],"slug":"crate-digging-with-bay-area-jazz-saxophonist-howard-wiley","title":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley","publishDate":1681918252,"format":"standard","headTitle":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Howard Wiley is a record fanatic. Or, as Wiley puts it, “a bona fide jazz fanatic junkie.” He’s also an accomplished jazz musician who’s played tenor saxophone with a who’s-who of greats, including trumpeter Clark Terry, pianist Jason Moran and hip-hop icon Lauryn Hill, in addition to his \u003ca href=\"https://ybgfestival.org/event/howard-wiley-2023/\">regular gigs around the Bay\u003c/a>. He’s released several albums since 1995, including the acclaimed \u003ca href=\"https://music.apple.com/us/album/the-angola-project/267828625\">\u003ci>The Angola Project\u003c/i>\u003c/a>, and he’s got new music on the way this year (plus a soon-to-be-announced role as a resident artistic director at \u003ca href=\"https://www.sfjazz.org/\">SFJAZZ\u003c/a>, starting in 2024).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jDYTyPEUMFc\u003c/p>\n\u003cp>I spoke to Wiley earlier this year for \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">a story about his pal and fellow jazz musician Ambrose Akinmusire\u003c/a>. Over the course of the conversation, I learned about Wiley’s massive record collection and his passion for crate digging. So as \u003ca href=\"https://recordstoreday.com/\">Record Store Day\u003c/a> approaches — an annual day designated to celebrate independent record stores, landing this year on April 22 — I asked Wiley to take me to some of his favorite local record shops and share his tips for finding classic records to start, or grow, one’s collection.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: Before we dig into the crates, tell us about your record collection.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Howard Wiley:\u003c/strong> I have about 10,000 records — about 7,000 collected on my own and 3,000 inherited from my mentor. Serious focus on the straight-ahead jazz. So I got all your favorite artists: all the Erroll Garner, all the Sarah Vaughan, all the Duke Ellington, all the Count Basie, all the Dexter Gordon, all the Charlie Parker, all the Miles Davis stuff. I have that and the artists who perform with them. \u003ca href=\"https://www.youtube.com/watch?v=lbpou3NLawM\">Johnny Hodges\u003c/a> played with Duke Ellington, so I got all the Johnny Hodges records. And all of the offshoots, the big bands.\u003c/p>\n\u003cp>I try to do regional stuff, [and] I like tenor [saxophone] players because I play tenor. I just love the music. I also have an incredibly large classical music collection. So all your major composers, all the major periods — not too much 20th century, though. Also got a lot of gospel. I’m working on gospel from the golden era [from the 1940s to 1950s], and, say, 1960 to 1990.\u003c/p>\n\u003cp>\u003cstrong>How do you approach digging for records? Do you have advice about what’s worth spending money on?\u003c/strong>\u003c/p>\n\u003cp>Streaming has a lot of the popular stuff. They got a lot of the hits and the top artists: Duke Ellington, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, Charlie Parker, Dizzy Gillespie. \u003cspan style=\"font-weight: 400\">So if you see an original copy of Miles Davis’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kind of Blue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> or of Dave Brubeck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Time Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">…they printed millions of those. Getting a reissue on one of those throughout the years is just as good. \u003c/span>I’m looking for off-the-beaten-path type stuff. Those seminal jazz artists that we don’t tend to talk about. So, I’ll look for a \u003ca href=\"https://www.youtube.com/watch?v=VgusuGsEtRQ\">Wynton Kelly\u003c/a> album. I’m gonna look for some \u003ca href=\"https://www.youtube.com/watch?v=tAZTYX_zsQ8\">Red Garland\u003c/a> on Prestige [Records]. I’ll look for some \u003ca href=\"https://www.youtube.com/watch?v=zqJ_ho8hvLE\">Shirley Scott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-800x600.jpg\" alt=\"a bin of records with a record by jazz artist J.J. Johnson called 'First Place' on top\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The kind of record Wiley geeks out on — a Columbia Records “six-eye” original of ‘First Place’ by J.J. Johnson, seen at Noise Records in San Francisco on April 7. ‘J.J. was one of the foremost innovators of jazz trombone coming out of the bebop era,’ says Wiley. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you scope a quality record?\u003c/strong>\u003c/p>\n\u003cp>You can always tell by the thickness of the record. Once the ’80s hit, the vinyl got thinner. And just got thinner and thinner each decade.\u003c/p>\n\u003cp>You can also tell when you don’t have the big parent companies listed. If you’re looking for a good album – and it’s an old album – you won’t see any mention of parent companies. For example, if it’s a Verve album and it says Polygram on it, or Universal, you know that’s a reissue. If you see a Blue Note record and it says EMI on it, that’s a reissue. You want to look for the records where it’s just that [original] company.\u003c/p>\n\u003cp>Also, with Columbia Records — especially during their heyday in the Miles Davis \u003ci>Kind of Blue\u003c/i> period — you look at the record and you’ll see the Columbia logo, which is like an eye, and you’ll see three on each side of the hole. That means it’s an original. Then in the next phase, it was two eyes, one on each side of the hole. So if you get a copy of \u003ci>Kind of Blue\u003c/i> and it has a red label that says “Columbia Records” and no logos on either side of the hole, that means it’s a reissue that happened around the ’70s and later. I think they brought back the “six-eye” now, but those classic period albums all have six eyes. So if you see a \u003ca href=\"https://www.youtube.com/watch?v=RSzqhXJb-dA\">Patti Bown\u003c/a> record and it’s a “six-eye”? Absolutely. That’s a great find.\u003c/p>\n\u003cfigure id=\"attachment_13927955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388-800x489.jpg\" alt=\"two vinyl records from Columbia, with red labels, seen out of their sleeves\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1536x939.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1920x1174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of an original Columbia “six-eye” record (left) and “two-eye” record. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you consider a reasonable price point for an average record — not a rare, “holy grail” type record?\u003c/strong>\u003c/p>\n\u003cp>You can find cool, good, original press records for $4 and $5. So you don’t have to necessarily break the bank and spend $20 and $30, like new records cost now. [At $4 or $5] you can have some incredibly good music, incredibly well recorded. And with somebody like \u003ca href=\"https://www.youtube.com/watch?v=yfIjj-wN93Y&t=59s\">James Cleveland\u003c/a>, a lot of the time it’s live. So you get \u003cem>that thang\u003c/em>, you know. And I grew up in church and I love and I miss and need \u003cem>that thang\u003c/em>. It’s nice to find that.\u003c/p>\n\u003ch2>\u003cstrong>Howard Wiley’s\u003c/strong> Recommended\u003cstrong> Record Shops\u003c/strong>\u003c/h2>\n\u003cp>If you want to trace Howard Wiley’s record-shopping steps, here are his top three stops in the Bay Area, with his “liner notes” on what he loves about them:\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanfrancisconoise.com/\">Noise\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>3427 Balboa St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-800x600.jpg\" alt=\"a man looks through vinyl records in a record store while an employee sits behind the desk\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley shopping, while Sara Alison Johnson works, at Noise in San Francisco’s Outer Richmond neighborhood on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> I really love Noise. One, it’s family-owned and the owner is a saxophone player, as well. Not saying that musicians know more about records, but he just has a hunger for the music that is different. He wants to understand and he has an understanding of it. And he takes that same level of detail and study to the record store. And it’s still very organic. He runs it with his mother and his sister, and they really \u003cem>love\u003c/em> music.\u003c/p>\n\u003cp>There’s a lot of hipster used record stores and things that have been popping up, and it’s different coming from a place where somebody thinks it’s cool versus somebody who really loves music. And that’s what I get from Noise. And [the owner] Danny always has his ear to the ground for very special stuff, very special periods. And it goes across genres, too. I’m a big jazz head, big blues head, but they have all the rock and a lot of the pop stuff. It is very eclectic and very informed.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.downhomemusic.com/\">Down Home Music Store\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>10341 San Pablo Ave, El Cerrito\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353-800x600.jpg\" alt=\"a man in a purple hoodie flips through records in a record store\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley flips through records at Down Home Record Store in El Cerrito on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> At Down Home, I always hit the jazz section first, then I hit up the roots stuff. I try to see what the ethnomusicologists have done. I look for the \u003ca href=\"https://folkways.si.edu/arhoolie\">Arhoolie\u003c/a> things since this store was originally opened by Arhoolie Records founder Chris Strachwitz. I look for records and CDs that are from small or boutique presses — stuff that’s hard to find and that you only find in indie spots. They’ve got the Japanese 45s, and Japanese pressings are detailed to the max. Best sound quality.\u003c/p>\n\u003cp>This place has a lot of great CDs and video recordings, too. TV performances, live performances, stuff that you won’t find on YouTube – you find those gems here. I got a bunch of Thelonious Monk and Roots Americana videos here. A lot of regional stuff – how the music sounded in the Pacific Northwest in the ’30s during their first great migration. What it sounded like in Mississippi churches.\u003c/p>\n\u003ch2>Groove Yard\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>5555 Claremont Ave, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367-800x600.jpg\" alt=\"an older white man stands behind the counter in a cluttered record shop, laughing as he talks with a younger Black man in a purple hoodie and hat on the other side of the counter\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Groove Yard owner Rick Ballard (left) and Wiley talk records at Groove Yard in Oakland on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> The “holy trinity” of record stores in the East Bay used to be this place called Berigan’s, a place called DBA Brown and the Groove Yard. Unfortunately, Berigan’s and DBA Brown are no longer with us, and the Groove Yard is the last of that. It’s a super, super great record shop. I would go to the Groove Yard as a teenager and just hang out and listen to all the record collectors talk about labels and producers, and brag about their collections.\u003c/p>\n\u003cp>I learned not only about the records, but about the music and the culture. That’s what I get from the Groove Yard. Plus [owner] Rick Ballard is one of these dudes who’s been in the game so long as a record store owner, as a record importer and as somebody who has a place that draws all the avid collectors. So you’ll see Rick talk about stuff you don’t ever hear anybody talk about, like \u003ca href=\"https://www.evereststereo.com/about/\">Everest Records\u003c/a>. So this place is super special — a great record store run by somebody who is cool and informative. It has a special place in my heart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The 'bona fide jazz fanatic junkie' leads a tour of three Bay Area record stores and shares his tips for collecting.","status":"publish","parent":0,"modified":1705005610,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1725},"headData":{"title":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley | KQED","description":"The 'bona fide jazz fanatic junkie' leads a tour of three Bay Area record stores and shares his tips for collecting.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley","datePublished":"2023-04-19T15:30:52.000Z","dateModified":"2024-01-11T20:40:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927947/crate-digging-with-bay-area-jazz-saxophonist-howard-wiley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Howard Wiley is a record fanatic. Or, as Wiley puts it, “a bona fide jazz fanatic junkie.” He’s also an accomplished jazz musician who’s played tenor saxophone with a who’s-who of greats, including trumpeter Clark Terry, pianist Jason Moran and hip-hop icon Lauryn Hill, in addition to his \u003ca href=\"https://ybgfestival.org/event/howard-wiley-2023/\">regular gigs around the Bay\u003c/a>. He’s released several albums since 1995, including the acclaimed \u003ca href=\"https://music.apple.com/us/album/the-angola-project/267828625\">\u003ci>The Angola Project\u003c/i>\u003c/a>, and he’s got new music on the way this year (plus a soon-to-be-announced role as a resident artistic director at \u003ca href=\"https://www.sfjazz.org/\">SFJAZZ\u003c/a>, starting in 2024).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jDYTyPEUMFc'\n title='//www.youtube.com/embed/jDYTyPEUMFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I spoke to Wiley earlier this year for \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">a story about his pal and fellow jazz musician Ambrose Akinmusire\u003c/a>. Over the course of the conversation, I learned about Wiley’s massive record collection and his passion for crate digging. So as \u003ca href=\"https://recordstoreday.com/\">Record Store Day\u003c/a> approaches — an annual day designated to celebrate independent record stores, landing this year on April 22 — I asked Wiley to take me to some of his favorite local record shops and share his tips for finding classic records to start, or grow, one’s collection.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: Before we dig into the crates, tell us about your record collection.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Howard Wiley:\u003c/strong> I have about 10,000 records — about 7,000 collected on my own and 3,000 inherited from my mentor. Serious focus on the straight-ahead jazz. So I got all your favorite artists: all the Erroll Garner, all the Sarah Vaughan, all the Duke Ellington, all the Count Basie, all the Dexter Gordon, all the Charlie Parker, all the Miles Davis stuff. I have that and the artists who perform with them. \u003ca href=\"https://www.youtube.com/watch?v=lbpou3NLawM\">Johnny Hodges\u003c/a> played with Duke Ellington, so I got all the Johnny Hodges records. And all of the offshoots, the big bands.\u003c/p>\n\u003cp>I try to do regional stuff, [and] I like tenor [saxophone] players because I play tenor. I just love the music. I also have an incredibly large classical music collection. So all your major composers, all the major periods — not too much 20th century, though. Also got a lot of gospel. I’m working on gospel from the golden era [from the 1940s to 1950s], and, say, 1960 to 1990.\u003c/p>\n\u003cp>\u003cstrong>How do you approach digging for records? Do you have advice about what’s worth spending money on?\u003c/strong>\u003c/p>\n\u003cp>Streaming has a lot of the popular stuff. They got a lot of the hits and the top artists: Duke Ellington, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, Charlie Parker, Dizzy Gillespie. \u003cspan style=\"font-weight: 400\">So if you see an original copy of Miles Davis’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kind of Blue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> or of Dave Brubeck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Time Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">…they printed millions of those. Getting a reissue on one of those throughout the years is just as good. \u003c/span>I’m looking for off-the-beaten-path type stuff. Those seminal jazz artists that we don’t tend to talk about. So, I’ll look for a \u003ca href=\"https://www.youtube.com/watch?v=VgusuGsEtRQ\">Wynton Kelly\u003c/a> album. I’m gonna look for some \u003ca href=\"https://www.youtube.com/watch?v=tAZTYX_zsQ8\">Red Garland\u003c/a> on Prestige [Records]. I’ll look for some \u003ca href=\"https://www.youtube.com/watch?v=zqJ_ho8hvLE\">Shirley Scott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-800x600.jpg\" alt=\"a bin of records with a record by jazz artist J.J. Johnson called 'First Place' on top\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The kind of record Wiley geeks out on — a Columbia Records “six-eye” original of ‘First Place’ by J.J. Johnson, seen at Noise Records in San Francisco on April 7. ‘J.J. was one of the foremost innovators of jazz trombone coming out of the bebop era,’ says Wiley. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you scope a quality record?\u003c/strong>\u003c/p>\n\u003cp>You can always tell by the thickness of the record. Once the ’80s hit, the vinyl got thinner. And just got thinner and thinner each decade.\u003c/p>\n\u003cp>You can also tell when you don’t have the big parent companies listed. If you’re looking for a good album – and it’s an old album – you won’t see any mention of parent companies. For example, if it’s a Verve album and it says Polygram on it, or Universal, you know that’s a reissue. If you see a Blue Note record and it says EMI on it, that’s a reissue. You want to look for the records where it’s just that [original] company.\u003c/p>\n\u003cp>Also, with Columbia Records — especially during their heyday in the Miles Davis \u003ci>Kind of Blue\u003c/i> period — you look at the record and you’ll see the Columbia logo, which is like an eye, and you’ll see three on each side of the hole. That means it’s an original. Then in the next phase, it was two eyes, one on each side of the hole. So if you get a copy of \u003ci>Kind of Blue\u003c/i> and it has a red label that says “Columbia Records” and no logos on either side of the hole, that means it’s a reissue that happened around the ’70s and later. I think they brought back the “six-eye” now, but those classic period albums all have six eyes. So if you see a \u003ca href=\"https://www.youtube.com/watch?v=RSzqhXJb-dA\">Patti Bown\u003c/a> record and it’s a “six-eye”? Absolutely. That’s a great find.\u003c/p>\n\u003cfigure id=\"attachment_13927955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388-800x489.jpg\" alt=\"two vinyl records from Columbia, with red labels, seen out of their sleeves\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1536x939.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1920x1174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of an original Columbia “six-eye” record (left) and “two-eye” record. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you consider a reasonable price point for an average record — not a rare, “holy grail” type record?\u003c/strong>\u003c/p>\n\u003cp>You can find cool, good, original press records for $4 and $5. So you don’t have to necessarily break the bank and spend $20 and $30, like new records cost now. [At $4 or $5] you can have some incredibly good music, incredibly well recorded. And with somebody like \u003ca href=\"https://www.youtube.com/watch?v=yfIjj-wN93Y&t=59s\">James Cleveland\u003c/a>, a lot of the time it’s live. So you get \u003cem>that thang\u003c/em>, you know. And I grew up in church and I love and I miss and need \u003cem>that thang\u003c/em>. It’s nice to find that.\u003c/p>\n\u003ch2>\u003cstrong>Howard Wiley’s\u003c/strong> Recommended\u003cstrong> Record Shops\u003c/strong>\u003c/h2>\n\u003cp>If you want to trace Howard Wiley’s record-shopping steps, here are his top three stops in the Bay Area, with his “liner notes” on what he loves about them:\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanfrancisconoise.com/\">Noise\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>3427 Balboa St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-800x600.jpg\" alt=\"a man looks through vinyl records in a record store while an employee sits behind the desk\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley shopping, while Sara Alison Johnson works, at Noise in San Francisco’s Outer Richmond neighborhood on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> I really love Noise. One, it’s family-owned and the owner is a saxophone player, as well. Not saying that musicians know more about records, but he just has a hunger for the music that is different. He wants to understand and he has an understanding of it. And he takes that same level of detail and study to the record store. And it’s still very organic. He runs it with his mother and his sister, and they really \u003cem>love\u003c/em> music.\u003c/p>\n\u003cp>There’s a lot of hipster used record stores and things that have been popping up, and it’s different coming from a place where somebody thinks it’s cool versus somebody who really loves music. And that’s what I get from Noise. And [the owner] Danny always has his ear to the ground for very special stuff, very special periods. And it goes across genres, too. I’m a big jazz head, big blues head, but they have all the rock and a lot of the pop stuff. It is very eclectic and very informed.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.downhomemusic.com/\">Down Home Music Store\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>10341 San Pablo Ave, El Cerrito\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353-800x600.jpg\" alt=\"a man in a purple hoodie flips through records in a record store\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley flips through records at Down Home Record Store in El Cerrito on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> At Down Home, I always hit the jazz section first, then I hit up the roots stuff. I try to see what the ethnomusicologists have done. I look for the \u003ca href=\"https://folkways.si.edu/arhoolie\">Arhoolie\u003c/a> things since this store was originally opened by Arhoolie Records founder Chris Strachwitz. I look for records and CDs that are from small or boutique presses — stuff that’s hard to find and that you only find in indie spots. They’ve got the Japanese 45s, and Japanese pressings are detailed to the max. Best sound quality.\u003c/p>\n\u003cp>This place has a lot of great CDs and video recordings, too. TV performances, live performances, stuff that you won’t find on YouTube – you find those gems here. I got a bunch of Thelonious Monk and Roots Americana videos here. A lot of regional stuff – how the music sounded in the Pacific Northwest in the ’30s during their first great migration. What it sounded like in Mississippi churches.\u003c/p>\n\u003ch2>Groove Yard\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>5555 Claremont Ave, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367-800x600.jpg\" alt=\"an older white man stands behind the counter in a cluttered record shop, laughing as he talks with a younger Black man in a purple hoodie and hat on the other side of the counter\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Groove Yard owner Rick Ballard (left) and Wiley talk records at Groove Yard in Oakland on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> The “holy trinity” of record stores in the East Bay used to be this place called Berigan’s, a place called DBA Brown and the Groove Yard. Unfortunately, Berigan’s and DBA Brown are no longer with us, and the Groove Yard is the last of that. It’s a super, super great record shop. I would go to the Groove Yard as a teenager and just hang out and listen to all the record collectors talk about labels and producers, and brag about their collections.\u003c/p>\n\u003cp>I learned not only about the records, but about the music and the culture. That’s what I get from the Groove Yard. Plus [owner] Rick Ballard is one of these dudes who’s been in the game so long as a record store owner, as a record importer and as somebody who has a place that draws all the avid collectors. So you’ll see Rick talk about stuff you don’t ever hear anybody talk about, like \u003ca href=\"https://www.evereststereo.com/about/\">Everest Records\u003c/a>. So this place is super special — a great record store run by somebody who is cool and informative. It has a special place in my heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927947/crate-digging-with-bay-area-jazz-saxophonist-howard-wiley","authors":["11296"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8355","arts_10278","arts_2415","arts_2683","arts_1420","arts_3741"],"featImg":"arts_13927953","label":"arts"},"arts_13858386":{"type":"posts","id":"arts_13858386","meta":{"index":"posts_1591205157","site":"arts","id":"13858386","score":null,"sort":[1559156457000]},"guestAuthors":[],"slug":"record-scratch-upstart-oakland-vinyl-manufacturer-going-out-of-business","title":"Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business","publishDate":1559156457,"format":"standard","headTitle":"Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. [aside postID=arts_13812043,arts_13855266]\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Second Line Vinyl launched less than two years ago with lofty goals. ","status":"publish","parent":0,"modified":1705026121,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":683},"headData":{"title":"Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business | KQED","description":"Second Line Vinyl launched less than two years ago with lofty goals. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business","datePublished":"2019-05-29T19:00:57.000Z","dateModified":"2024-01-12T02:22:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13858386/record-scratch-upstart-oakland-vinyl-manufacturer-going-out-of-business","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13812043,arts_13855266","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13858386/record-scratch-upstart-oakland-vinyl-manufacturer-going-out-of-business","authors":["11091"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_746","arts_596","arts_1143","arts_3741"],"featImg":"arts_13812089","label":"arts"},"arts_13858239":{"type":"posts","id":"arts_13858239","meta":{"index":"posts_1591205157","site":"arts","id":"13858239","score":null,"sort":[1559088032000]},"guestAuthors":[],"slug":"now-playing-profiles-in-near-religious-obsession-at-docfest","title":"Now Playing! Profiles in Near-Religious Obsession at DocFest","publishDate":1559088032,"format":"standard","headTitle":"Now Playing! Profiles in Near-Religious Obsession at DocFest | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>This week, we look ahead to three pictures from an exhibition, namely this year’s San Francisco Documentary Festival, a.k.a. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&\" rel=\"noopener\" target=\"_blank\">DocFest\u003c/a> (running May 29–June 13 at the Roxie and Brava Theaters).\u003c/p>\n\u003cp>For starters: Surely there are still a few outsiders, outcasts and outliers remaining in San Francisco, yes? Think-for-yourself folks who recognize the absurd tonnage of conformist BS exuded into our environment every minute? If that’s you, well, you’re the audience for \u003cem>JR “Bob” Dobbs and the Church of the Subgenius\u003c/em> (May 30 at the Roxie), an in-on-the-joke saga of the ersatz religion founded in the ’70s by a couple of precocious young Texans with a shared love of Captain Beefheart and Chick tracts.\u003c/p>\n\u003cp>Sandy K. Boone’s film is as alert and bemused as its now-older and wiser subjects (and their followers). One of the founders, Rev. Ivan Stang, describes the Church as “a weird fringe cult for weirdos.” More than simply a history and a character(s) study, the doc works as a mental laxative at this particular moment of collective insanity and collective denial. Free thinkers of the world, unite!\u003c/p>\n\u003cp>Snapshot No. 2: Near-religious zeal of another denomination altogether fuels veteran Bay Area filmmaker Liz Canning’s irresistible first-person documentary \u003cem>Motherload\u003c/em> (June 9 at the Roxie). Transplanted from San Francisco to the northern Marin town of Fairfax, and transformed from cyclist to car slave by the birth of twins, Canning frames her film as a sort of grown-up back-to-nature journey. To that end, she assembles a veritable revival tent of smiling subversives to spread the gospel of cargo bikes.\u003c/p>\n\u003cp>\u003cem>Motherload\u003c/em> breathlessly transports the viewer to a different reality in more ways than one: In the cellphone era, bicycles are a splendid (and occasionally safe) way to capture moving images. Canning’s peripatetic camera captures an existing, sustainable counterculture, and the shrieks and laughter of many, many, many children.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/333772940\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Snapshot #3: Chicagoan Rick Wojcik would have a helluva time using a bicycle to haul the vast troves of jazz and hip-hop LPs and CDs he purchases from music fans-slash-collectors. As cofounder and head man of Dusty Groove, a North Side record store with an international reach courtesy of its long-running website, Wojcik is the rare example of someone who turned his hobby and passion (shopping for rare records) into a successful busines—without becoming jaded.\u003c/p>\n\u003cp>\u003cem>Dusty Groove: The Sound of Transition\u003c/em> (receiving its world premiere June 8, with a second screening June 10) devotes most of its running time to Wojcik’s unique interactions with his “suppliers.” A terminally ill black jazzman plays his own decades-old recording for Wojcik; a black woman with an autistic son recounts her late father’s attributes while Wojcik excavates her crammed storage locker, a well-off white pianist bemoans the dearth of gigs outside of weddings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directed with a heart full of soul by Danielle Beverly (full disclosure: she was a producer of KQED’s \u003cem>Independent View\u003c/em>, a short-lived TV program that this writer hosted many moons ago), \u003cem>Dusty Groove\u003c/em> is less nostalgic and more inspiring than I may have suggested. The music lives on, in Wojcik and the thousands of jazz and hip-hop fans around the world who covet that little-known Sonny Stitt LP.\u003c/p>\n\n","blocks":[],"excerpt":"Rare jazz LPs, cargo bikes and the Church of the Subgenius are just a few of the passions paraded at this year's edition.","status":"publish","parent":0,"modified":1705026127,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":577},"headData":{"title":"Now Playing! Profiles in Near-Religious Obsession at DocFest | KQED","description":"Rare jazz LPs, cargo bikes and the Church of the Subgenius are just a few of the passions paraded at this year's edition.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Profiles in Near-Religious Obsession at DocFest","datePublished":"2019-05-29T00:00:32.000Z","dateModified":"2024-01-12T02:22:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13858239/now-playing-profiles-in-near-religious-obsession-at-docfest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we look ahead to three pictures from an exhibition, namely this year’s San Francisco Documentary Festival, a.k.a. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&\" rel=\"noopener\" target=\"_blank\">DocFest\u003c/a> (running May 29–June 13 at the Roxie and Brava Theaters).\u003c/p>\n\u003cp>For starters: Surely there are still a few outsiders, outcasts and outliers remaining in San Francisco, yes? Think-for-yourself folks who recognize the absurd tonnage of conformist BS exuded into our environment every minute? If that’s you, well, you’re the audience for \u003cem>JR “Bob” Dobbs and the Church of the Subgenius\u003c/em> (May 30 at the Roxie), an in-on-the-joke saga of the ersatz religion founded in the ’70s by a couple of precocious young Texans with a shared love of Captain Beefheart and Chick tracts.\u003c/p>\n\u003cp>Sandy K. Boone’s film is as alert and bemused as its now-older and wiser subjects (and their followers). One of the founders, Rev. Ivan Stang, describes the Church as “a weird fringe cult for weirdos.” More than simply a history and a character(s) study, the doc works as a mental laxative at this particular moment of collective insanity and collective denial. Free thinkers of the world, unite!\u003c/p>\n\u003cp>Snapshot No. 2: Near-religious zeal of another denomination altogether fuels veteran Bay Area filmmaker Liz Canning’s irresistible first-person documentary \u003cem>Motherload\u003c/em> (June 9 at the Roxie). Transplanted from San Francisco to the northern Marin town of Fairfax, and transformed from cyclist to car slave by the birth of twins, Canning frames her film as a sort of grown-up back-to-nature journey. To that end, she assembles a veritable revival tent of smiling subversives to spread the gospel of cargo bikes.\u003c/p>\n\u003cp>\u003cem>Motherload\u003c/em> breathlessly transports the viewer to a different reality in more ways than one: In the cellphone era, bicycles are a splendid (and occasionally safe) way to capture moving images. Canning’s peripatetic camera captures an existing, sustainable counterculture, and the shrieks and laughter of many, many, many children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/333772940\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Snapshot #3: Chicagoan Rick Wojcik would have a helluva time using a bicycle to haul the vast troves of jazz and hip-hop LPs and CDs he purchases from music fans-slash-collectors. As cofounder and head man of Dusty Groove, a North Side record store with an international reach courtesy of its long-running website, Wojcik is the rare example of someone who turned his hobby and passion (shopping for rare records) into a successful busines—without becoming jaded.\u003c/p>\n\u003cp>\u003cem>Dusty Groove: The Sound of Transition\u003c/em> (receiving its world premiere June 8, with a second screening June 10) devotes most of its running time to Wojcik’s unique interactions with his “suppliers.” A terminally ill black jazzman plays his own decades-old recording for Wojcik; a black woman with an autistic son recounts her late father’s attributes while Wojcik excavates her crammed storage locker, a well-off white pianist bemoans the dearth of gigs outside of weddings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directed with a heart full of soul by Danielle Beverly (full disclosure: she was a producer of KQED’s \u003cem>Independent View\u003c/em>, a short-lived TV program that this writer hosted many moons ago), \u003cem>Dusty Groove\u003c/em> is less nostalgic and more inspiring than I may have suggested. The music lives on, in Wojcik and the thousands of jazz and hip-hop fans around the world who covet that little-known Sonny Stitt LP.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13858239/now-playing-profiles-in-near-religious-obsession-at-docfest","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_1118","arts_977","arts_6298","arts_596","arts_3741"],"featImg":"arts_13858394","label":"arts_140"},"arts_13855266":{"type":"posts","id":"arts_13855266","meta":{"index":"posts_1591205157","site":"arts","id":"13855266","score":null,"sort":[1555543221000]},"guestAuthors":[],"slug":"bandcamp-announces-vinyl-service-partnering-with-pirates-press-in-emeryville","title":"Bandcamp Announces Vinyl Service, Partnering with Pirates Press in Emeryville","publishDate":1555543221,"format":"standard","headTitle":"Bandcamp Announces Vinyl Service, Partnering with Pirates Press in Emeryville | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Bandcamp, the popular music streaming and merchandise service \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\" rel=\"noopener\" target=\"_blank\">newly headquartered in Oakland\u003c/a>, announced on Wednesday an upcoming expansion into vinyl manufacturing as an added service to independent artists.\u003c/p>\n\u003cp>In a blog post, Bandcamp co-founder and chief executive Ethan Diamond \u003ca href=\"https://daily.bandcamp.com/2019/04/17/create-vinyl-with-bandcamp/\">described\u003c/a> vinyl as “an important expression of fandom,” and often inaccessible for small artists to manufacture due to cost and complexity. Only a small percentage of artists sell vinyl through Bandcamp, yet record sales on the site have grown 600 percent in the past five years. Bandcamp aims to streamline production and order fulfillment, he explained, with “no out-of-pocket costs” to artists. \u003c/p>\n\u003cp>Earlier this year, Bandcamp \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">opened\u003c/a> a small record showroom and venue attached to its downtown Oakland office with promises to support the local music community. Now the company has partnered with Pirates Press, KQED confirmed, an Emeryville vinyl broker that contracts with a plant in the Czech Republic to manufacture records. \u003c/p>\n\u003cp>(\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a>, a new record manufacturer whose offices and plant are located in Oakland, was also considered as a partner.) \u003c/p>\n\u003cp>\u003ca href=\"http://piratespressrecords.com/\">Pirates Press\u003c/a>, which moved offices from San Francisco to Emeryville in 2016, developed what they estimated to be \u003ca href=\"https://www.kqed.org/arts/10307124/amidst-vinyl-boom-pirates-press-gains-first-new-vinyl-press-in-30-years\" rel=\"noopener\" target=\"_blank\">the first brand new vinyl press in 30 years\u003c/a> in 2015, boosting its overseas production capacity to 120,000 units daily. Owner Eric “Skippy” Mueller said many of his Bay Area employees are musicians and label operators who use Bandcamp. “We’re excited,” he said. “There’s a lot of connected knowledge.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bandcamp’s vinyl service, expected to be publicly available later this year, collects various existing services under their single roof. Artists would crowdfund a record through the site, effectively allowing fans to pre-order a given title. With the fundraising goal met, Bandcamp then manufactures the record through Pirates Press. Artists would then sell the record on their Bandcamp page.\u003c/p>\n\u003cp>No rates for the service were announced. Bandcamp promises artists “complete control” of pricing and retention of ownership, although the company’s share of revenue, or any potential fundraising fees, weren’t detailed in the announcement. The company currently keeps 15 percent of digital sales and 10 percent of physical merchandise sales. \u003c/p>\n\u003cp>Also part of the deal is order fulfillment, but it’s unclear where the merchandise will be stored. (Bandcamp currently relies primarily on artists themselves to ship orders, and Pirates Press doesn’t warehouse stock, Mueller said.) Likewise, the announcement didn’t mention availability for independent record stores or distributors, or physical copies for artists to sell themselves, for example at shows. \u003c/p>\n\u003cp>(KQED provided a list of questions to Bandcamp.) \u003c/p>\n\u003cp>Mueller said Bandcamp has been working with Pirates Press to develop an interface for artists to provide production materials, simplifying a process for which many labels use multiple professionals. “It’s ideal for small bands, even some labels,” he said, estimating the production minimum will be 250 copies.\u003c/p>\n\u003cp>Essentially, Bandcamp is assuming duties traditionally performed by labels and distributors, which Diamond characterized as “costly and risky.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Dealing with fulfillment and returns can be incredibly time-consuming,” wrote Diamond. “The new service eliminates risk, since fans’ orders finance the pressing, rather than the artist or label.”\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland-based streaming service and merchandise platform assumes more duties traditionally performed by a record label. ","status":"publish","parent":0,"modified":1705026317,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":555},"headData":{"title":"Bandcamp Announces Vinyl Service, Partnering with Pirates Press in Emeryville | KQED","description":"The Oakland-based streaming service and merchandise platform assumes more duties traditionally performed by a record label. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bandcamp Announces Vinyl Service, Partnering with Pirates Press in Emeryville","datePublished":"2019-04-17T23:20:21.000Z","dateModified":"2024-01-12T02:25:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13855266/bandcamp-announces-vinyl-service-partnering-with-pirates-press-in-emeryville","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bandcamp, the popular music streaming and merchandise service \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\" rel=\"noopener\" target=\"_blank\">newly headquartered in Oakland\u003c/a>, announced on Wednesday an upcoming expansion into vinyl manufacturing as an added service to independent artists.\u003c/p>\n\u003cp>In a blog post, Bandcamp co-founder and chief executive Ethan Diamond \u003ca href=\"https://daily.bandcamp.com/2019/04/17/create-vinyl-with-bandcamp/\">described\u003c/a> vinyl as “an important expression of fandom,” and often inaccessible for small artists to manufacture due to cost and complexity. Only a small percentage of artists sell vinyl through Bandcamp, yet record sales on the site have grown 600 percent in the past five years. Bandcamp aims to streamline production and order fulfillment, he explained, with “no out-of-pocket costs” to artists. \u003c/p>\n\u003cp>Earlier this year, Bandcamp \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">opened\u003c/a> a small record showroom and venue attached to its downtown Oakland office with promises to support the local music community. Now the company has partnered with Pirates Press, KQED confirmed, an Emeryville vinyl broker that contracts with a plant in the Czech Republic to manufacture records. \u003c/p>\n\u003cp>(\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a>, a new record manufacturer whose offices and plant are located in Oakland, was also considered as a partner.) \u003c/p>\n\u003cp>\u003ca href=\"http://piratespressrecords.com/\">Pirates Press\u003c/a>, which moved offices from San Francisco to Emeryville in 2016, developed what they estimated to be \u003ca href=\"https://www.kqed.org/arts/10307124/amidst-vinyl-boom-pirates-press-gains-first-new-vinyl-press-in-30-years\" rel=\"noopener\" target=\"_blank\">the first brand new vinyl press in 30 years\u003c/a> in 2015, boosting its overseas production capacity to 120,000 units daily. Owner Eric “Skippy” Mueller said many of his Bay Area employees are musicians and label operators who use Bandcamp. “We’re excited,” he said. “There’s a lot of connected knowledge.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bandcamp’s vinyl service, expected to be publicly available later this year, collects various existing services under their single roof. Artists would crowdfund a record through the site, effectively allowing fans to pre-order a given title. With the fundraising goal met, Bandcamp then manufactures the record through Pirates Press. Artists would then sell the record on their Bandcamp page.\u003c/p>\n\u003cp>No rates for the service were announced. Bandcamp promises artists “complete control” of pricing and retention of ownership, although the company’s share of revenue, or any potential fundraising fees, weren’t detailed in the announcement. The company currently keeps 15 percent of digital sales and 10 percent of physical merchandise sales. \u003c/p>\n\u003cp>Also part of the deal is order fulfillment, but it’s unclear where the merchandise will be stored. (Bandcamp currently relies primarily on artists themselves to ship orders, and Pirates Press doesn’t warehouse stock, Mueller said.) Likewise, the announcement didn’t mention availability for independent record stores or distributors, or physical copies for artists to sell themselves, for example at shows. \u003c/p>\n\u003cp>(KQED provided a list of questions to Bandcamp.) \u003c/p>\n\u003cp>Mueller said Bandcamp has been working with Pirates Press to develop an interface for artists to provide production materials, simplifying a process for which many labels use multiple professionals. “It’s ideal for small bands, even some labels,” he said, estimating the production minimum will be 250 copies.\u003c/p>\n\u003cp>Essentially, Bandcamp is assuming duties traditionally performed by labels and distributors, which Diamond characterized as “costly and risky.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Dealing with fulfillment and returns can be incredibly time-consuming,” wrote Diamond. “The new service eliminates risk, since fans’ orders finance the pressing, rather than the artist or label.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13855266/bandcamp-announces-vinyl-service-partnering-with-pirates-press-in-emeryville","authors":["11091"],"programs":["arts_1272"],"categories":["arts_69","arts_235"],"tags":["arts_10589","arts_6425","arts_1118","arts_746","arts_596","arts_1143","arts_6427","arts_3741"],"featImg":"arts_13848951","label":"arts_1272"},"arts_13852678":{"type":"posts","id":"arts_13852678","meta":{"index":"posts_1591205157","site":"arts","id":"13852678","score":null,"sort":[1552330588000]},"guestAuthors":[],"slug":"stranded-records-to-add-third-location-in-new-york-city","title":"Stranded Records to Add Third Location in New York City","publishDate":1552330588,"format":"standard","headTitle":"Stranded Records to Add Third Location in New York City | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Stranded Records, the vinyl retailer with storefronts in Oakland and San Francisco, will expand to New York with a third location opening by April 1, the proprietors confirmed to KQED.\u003c/p>\n\u003cp>The new and used record store, which shares ownership with archival label Superior Viaduct, will take over the Manhattan storefront occupied for more than a decade by Good Records. In a deal similar to the \u003ca href=\"https://www.kqed.org/arts/11702037/aquarius-records-san-franciscos-oldest-independent-record-store-has-been-sold\">2016 replacement of Aquarius Records\u003c/a>, Stranded co-owner Steve Viaduct said they’re acquiring Good’s record selection and retaining several of its longtime employees.\u003c/p>\n\u003cp>Viaduct said Stranded’s expansion is partly about increasing the associated label’s presence in New York, and partly to accommodate with its swelling used catalog. “The Bay Area stores have been doing so well,” he said. “We have two modestly sized shops, but the need for a third became apparent when we couldn’t sell inventory fast enough.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Bu0KdZWAiAI/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13852697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/GoodRecordsIG.jpg\" alt=\"\" width=\"613\" height=\"709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/GoodRecordsIG.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/GoodRecordsIG-160x185.jpg 160w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003c/a>\u003c/p>\n\u003cp>In a social media \u003ca href=\"https://www.instagram.com/goodrecordsnyc/?hl=en\">announcement\u003c/a>, Good Records owner Jonathan “Jonny” Sklute emphasized that “lots of things will remain the same.” He continued, “Most importantly, there will still be vinyl records to dig and purchase and add to your collections, in the same bins, at the same location.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The expansion runs against a trend: Amoeba, the most recognizable vinyl retailer based in the Bay Area, has \u003ca href=\"https://www.kqed.org/arts/12130897/amoeba-owner-says-marijuana-dispensary-will-save-berkeley-store\">downsized\u003c/a> its flagship location to make way for its own cannabis dispensary in Berkeley, while used record shops Champion Sound in Oakland and 101 Music in San Francisco recently shuttered or announced impending closure.\u003c/p>\n\u003cp>Stranded, where this writer once worked, \u003ca href=\"https://www.eastbayexpress.com/oakland/once-stranded-obscure-albums-find-a-champion/Content?oid=3400206\">first opened\u003c/a> in Oakland in 2012. In 2016 it expanded to San Francisco after acquiring Aquarius, until then the city’s longest-running record shop. The store is known for a broad selection of new and collectible titles as well as being a brick-and-mortar representation of Superior Viaduct, which now has a number of imprints.\u003c/p>\n\u003cp>[contextly_sidebar id=”7QnySPThEMh1LZXv2YyBSxV0l6oe3P69″]\u003c/p>\n\u003cp>Superior Viaduct started in 2011 with a focus on San Francisco punk, but it’s since branched into jazz, reggae, experimental and 20th century classical music plus contemporary titles through sub-label W.25th. “Our New York artists are another reason to be there,” Viaduct said.\u003c/p>\n\u003cp>Viaduct said the Good Records deal includes several thousand records, to which Stranded will add several thousand more before reopening, but the shop will look similar: “It’s got hardwood floors, tin ceiling—when we were imagining a store to open in New York, this was our mental example.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his post, Sklute said he looks forward to focusing on his own label, The Key System, and to working with Superior Viaduct as Good transitions to Stranded. “Thank you for making our little shop a special and unique place in a world of rapidly increasing homogeneity,” he wrote.\u003c/p>\n\n","blocks":[],"excerpt":"The expansion runs against a trend of Bay Area record stores closing or downsizing.","status":"publish","parent":0,"modified":1705026498,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":487},"headData":{"title":"Stranded Records to Add Third Location in New York City | KQED","description":"The expansion runs against a trend of Bay Area record stores closing or downsizing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stranded Records to Add Third Location in New York City","datePublished":"2019-03-11T18:56:28.000Z","dateModified":"2024-01-12T02:28:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13852678/stranded-records-to-add-third-location-in-new-york-city","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stranded Records, the vinyl retailer with storefronts in Oakland and San Francisco, will expand to New York with a third location opening by April 1, the proprietors confirmed to KQED.\u003c/p>\n\u003cp>The new and used record store, which shares ownership with archival label Superior Viaduct, will take over the Manhattan storefront occupied for more than a decade by Good Records. In a deal similar to the \u003ca href=\"https://www.kqed.org/arts/11702037/aquarius-records-san-franciscos-oldest-independent-record-store-has-been-sold\">2016 replacement of Aquarius Records\u003c/a>, Stranded co-owner Steve Viaduct said they’re acquiring Good’s record selection and retaining several of its longtime employees.\u003c/p>\n\u003cp>Viaduct said Stranded’s expansion is partly about increasing the associated label’s presence in New York, and partly to accommodate with its swelling used catalog. “The Bay Area stores have been doing so well,” he said. “We have two modestly sized shops, but the need for a third became apparent when we couldn’t sell inventory fast enough.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Bu0KdZWAiAI/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13852697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/GoodRecordsIG.jpg\" alt=\"\" width=\"613\" height=\"709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/GoodRecordsIG.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/GoodRecordsIG-160x185.jpg 160w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003c/a>\u003c/p>\n\u003cp>In a social media \u003ca href=\"https://www.instagram.com/goodrecordsnyc/?hl=en\">announcement\u003c/a>, Good Records owner Jonathan “Jonny” Sklute emphasized that “lots of things will remain the same.” He continued, “Most importantly, there will still be vinyl records to dig and purchase and add to your collections, in the same bins, at the same location.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The expansion runs against a trend: Amoeba, the most recognizable vinyl retailer based in the Bay Area, has \u003ca href=\"https://www.kqed.org/arts/12130897/amoeba-owner-says-marijuana-dispensary-will-save-berkeley-store\">downsized\u003c/a> its flagship location to make way for its own cannabis dispensary in Berkeley, while used record shops Champion Sound in Oakland and 101 Music in San Francisco recently shuttered or announced impending closure.\u003c/p>\n\u003cp>Stranded, where this writer once worked, \u003ca href=\"https://www.eastbayexpress.com/oakland/once-stranded-obscure-albums-find-a-champion/Content?oid=3400206\">first opened\u003c/a> in Oakland in 2012. In 2016 it expanded to San Francisco after acquiring Aquarius, until then the city’s longest-running record shop. The store is known for a broad selection of new and collectible titles as well as being a brick-and-mortar representation of Superior Viaduct, which now has a number of imprints.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Superior Viaduct started in 2011 with a focus on San Francisco punk, but it’s since branched into jazz, reggae, experimental and 20th century classical music plus contemporary titles through sub-label W.25th. “Our New York artists are another reason to be there,” Viaduct said.\u003c/p>\n\u003cp>Viaduct said the Good Records deal includes several thousand records, to which Stranded will add several thousand more before reopening, but the shop will look similar: “It’s got hardwood floors, tin ceiling—when we were imagining a store to open in New York, this was our mental example.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his post, Sklute said he looks forward to focusing on his own label, The Key System, and to working with Superior Viaduct as Good transitions to Stranded. “Thank you for making our little shop a special and unique place in a world of rapidly increasing homogeneity,” he wrote.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13852678/stranded-records-to-add-third-location-in-new-york-city","authors":["11091"],"categories":["arts_69"],"tags":["arts_1118","arts_746","arts_596","arts_3741"],"featImg":"arts_13852680","label":"arts"},"arts_13837743":{"type":"posts","id":"arts_13837743","meta":{"index":"posts_1591205157","site":"arts","id":"13837743","score":null,"sort":[1532564511000]},"guestAuthors":[],"slug":"how-sweater-funk-djs-revived-boogie-a-once-uncool-sound","title":"How Sweater Funk DJs Revived Boogie, a Once-Uncool Sound","publishDate":1532564511,"format":"standard","headTitle":"How Sweater Funk DJs Revived Boogie, a Once-Uncool Sound | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>While some people are content to spend Sunday nights at home, a group of San Francisco DJs have made Sunday \u003cem>the\u003c/em> night to hit the dance floor. The tight but amorphous crew behind \u003ca href=\"https://www.facebook.com/sweaterfunk/\" target=\"_blank\" rel=\"noopener\">Sweater Funk\u003c/a> digs deep into the sounds of the late ’70s and ’80s at one of the city’s most beloved parties, which will soon celebrate 10 years as the Bay Area’s premiere night for funk, disco and a rare proto–hip-hop subgenre genre called boogie.\u003c/p>\n\u003cp>The next party, on July 29, is Sweater Funk’s last weekly event at The Knockout before it goes on a brief hiatus. An official 10th anniversary celebration takes place at the Elbo Room on September 29, and the crew will bring back Sweater Funk as a monthly on Nov. 10, holding down second Saturdays at The Knockout.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/196041576″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Boogie is a subgenre of funk that might sound familiar to anyone who was listening to the radio when bands like \u003ca href=\"https://youtu.be/CAORTc5dj3Y\" rel=\"noopener\" target=\"_blank\">Tavares\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=r9rKs6E47nQ\" rel=\"noopener\" target=\"_blank\">Slave\u003c/a> were popular—or it might sound like disco. Yet the slower, bass-heavy boogie, which Sweater Funk popularized locally, is a direct result of the so-called “\u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener\">disco sucks\u003c/a>” movement of the late ’70s, during which mostly white, male rock fans publicly rallied against the genre. Critics have since interpreted the movement as a backlash against disco fans and artists—many of whom were black and Latino, queer and female.\u003c/p>\n\u003cp>“Disco and uptempo R&B had to go underground again and it got cooler. It got black again, it got gay again and it got good again. It got sexier, it got funkier,” says Jacob Pena, aka DJ Guillermo, adding that Michael Jackson and Prince dabbled in boogie. “I think this is a really accessible genre; it’s positive and the lyrical content is almost always about love.”\u003c/p>\n\u003cfigure id=\"attachment_13837778\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/sweaterfunk.jpg\" alt=\"Sweater Funk's sweaty fifth anniversary party in 2013. \" width=\"700\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-520x293.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Sweater Funk’s sweaty fifth anniversary party in 2013. \u003ccite>(Courtesy of Sweater Funk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-founders Jon Blunk and Pena, both former Southern California residents and longtime DJs, met at a Long Beach soul night called Good Foot and bonded over their love of obscure funk records. Both moved to the Bay Area circa 2005–2006 and, inspired by legendary Los Angles boogie party Funkmosphere, started a boogie night in the basement of Chinatown’s Li-Po Lounge in 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At that time, everyone subscribed to the belief that funk ended in 1974 and ’80s stuff was considered cheesy. You’d only ever hear it if a lowrider happened to be rolling by,” Blunk says.\u003c/p>\n\u003cp>But the two DJs were drawn to the heaviness of records such as Keni Burke’s “\u003ca href=\"https://youtu.be/i_VtdpQdrh4\" target=\"_blank\" rel=\"noopener\">Hang Tight\u003c/a>” and La Voyage’s “\u003ca href=\"https://youtu.be/ZrdFv0V1ogg\" target=\"_blank\" rel=\"noopener\">Never Looking Back\u003c/a>” (both from 1982), and so were partygoers. Sweater Funk quickly created a tight community.\u003c/p>\n\u003cp>“We all felt like we had this one thing in common, which everyone else told us sucked,” says Pena. “But we knew better; doing this night kind of proved it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUFgen5eohU\u003c/p>\n\u003cp>Less than a year in, the small basement became packed with dancers, record collectors and other local DJs—including The Selecter DJ Kirk Harper, who quickly became central to Sweater Funk—that were into the underground, gritty and incredibly danceable vibe.\u003c/p>\n\u003cp>DJ, producer and singer Eric Boss fell in love immediately. “It felt like a party someone would throw in high school when their parents were out of town in a dark basement with the music blasting, drinking beers, smoking a ‘lil something.”\u003c/p>\n\u003cp>After Li-Po’s basement shut down, Sweater Funk landed at The Knockout, which has been the party’s home since 2012. The Sweater Funk DJs also host special events at Elbo Room and open for likeminded artists coming through town.\u003c/p>\n\u003cp>The Sweater Funk crew of DJs grew to a dozen people of different ethnicities and genders, including K-Maxx, Christina Chungtech, Sean Sullivan and Sheila Hernando. The women of Sweater Funk paved the way for all-female DJ groups like the B-Side Brujas, the Chulita Vinyl Club and the Cookie Crew, Harper added.\u003c/p>\n\u003cp>The sound of Sweater Funk also evolved, adding peripheral genres such as lovers rock, “modern soul” and slower-tempo steppers. Out of respect and curiosity, DJs often play entire songs rather than mixing samples. The party’s accessibility, style and dedication to boogie and its adjacent genres garnered widespread attention, attracting like minds from across the country.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ELNb2tAo4dM\u003c/p>\n\u003cp>“Sweater Funk has been one of the main crews known around the globe for keeping the boogie style in fashion,” said Chicago-based boogie DJ and Star Creature label co-owner Tim Zawada. “Because of its persistent popularity and welcoming vibe from DJs, there has been a nice increase in the amount of artists, labels and vinyl releases focusing on a modern interpretation of the boogie spirit.”\u003c/p>\n\u003cp>Mainstream artists have embraced the boogie influences in recent years. Bruno Mars’ \u003cem>24K Magic\u003c/em> and Mayer Hawthorne’s side project \u003ca href=\"https://youtu.be/H45DtfQS0zU\" target=\"_blank\" rel=\"noopener\">Tuxedo\u003c/a> both heavily employ boogie sounds. Locally, groups like Con Brio and Los Angeles’ Orgone have been influenced by early ’80s sounds.\u003c/p>\n\u003cp>Although Los Angeles DJ Miles Tackett came up with the name Sweater Funk, after the fuzzy sweaters featured on many boogie album covers, the party’s success may be due to its unique San Francisco spirit.\u003c/p>\n\u003cp>“San Francisco is down to party. There’s still a heart to it that hasn’t been snuffed out yet. Hopefully we’re helping to keep that heart beating,” Pena said. “Ferchrissakes, we started in a basement in Chinatown! You can’t more San Francisco than that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The next Sweater Funk takes place July 29 at The Knockout. Details \u003ca href=\"https://www.theknockoutsf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"“We all felt like we had this one thing in common, which everyone else told us sucked. But we knew better.\"","status":"publish","parent":0,"modified":1705027451,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1047},"headData":{"title":"How Sweater Funk DJs Revived Boogie, a Once-Uncool Sound | KQED","description":"“We all felt like we had this one thing in common, which everyone else told us sucked. But we knew better."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Sweater Funk DJs Revived Boogie, a Once-Uncool Sound","datePublished":"2018-07-26T00:21:51.000Z","dateModified":"2024-01-12T02:44:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jessica Lipsky","path":"/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While some people are content to spend Sunday nights at home, a group of San Francisco DJs have made Sunday \u003cem>the\u003c/em> night to hit the dance floor. The tight but amorphous crew behind \u003ca href=\"https://www.facebook.com/sweaterfunk/\" target=\"_blank\" rel=\"noopener\">Sweater Funk\u003c/a> digs deep into the sounds of the late ’70s and ’80s at one of the city’s most beloved parties, which will soon celebrate 10 years as the Bay Area’s premiere night for funk, disco and a rare proto–hip-hop subgenre genre called boogie.\u003c/p>\n\u003cp>The next party, on July 29, is Sweater Funk’s last weekly event at The Knockout before it goes on a brief hiatus. An official 10th anniversary celebration takes place at the Elbo Room on September 29, and the crew will bring back Sweater Funk as a monthly on Nov. 10, holding down second Saturdays at The Knockout.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/196041576″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/196041576″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Boogie is a subgenre of funk that might sound familiar to anyone who was listening to the radio when bands like \u003ca href=\"https://youtu.be/CAORTc5dj3Y\" rel=\"noopener\" target=\"_blank\">Tavares\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=r9rKs6E47nQ\" rel=\"noopener\" target=\"_blank\">Slave\u003c/a> were popular—or it might sound like disco. Yet the slower, bass-heavy boogie, which Sweater Funk popularized locally, is a direct result of the so-called “\u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener\">disco sucks\u003c/a>” movement of the late ’70s, during which mostly white, male rock fans publicly rallied against the genre. Critics have since interpreted the movement as a backlash against disco fans and artists—many of whom were black and Latino, queer and female.\u003c/p>\n\u003cp>“Disco and uptempo R&B had to go underground again and it got cooler. It got black again, it got gay again and it got good again. It got sexier, it got funkier,” says Jacob Pena, aka DJ Guillermo, adding that Michael Jackson and Prince dabbled in boogie. “I think this is a really accessible genre; it’s positive and the lyrical content is almost always about love.”\u003c/p>\n\u003cfigure id=\"attachment_13837778\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/sweaterfunk.jpg\" alt=\"Sweater Funk's sweaty fifth anniversary party in 2013. \" width=\"700\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sweaterfunk-520x293.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Sweater Funk’s sweaty fifth anniversary party in 2013. \u003ccite>(Courtesy of Sweater Funk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-founders Jon Blunk and Pena, both former Southern California residents and longtime DJs, met at a Long Beach soul night called Good Foot and bonded over their love of obscure funk records. Both moved to the Bay Area circa 2005–2006 and, inspired by legendary Los Angles boogie party Funkmosphere, started a boogie night in the basement of Chinatown’s Li-Po Lounge in 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At that time, everyone subscribed to the belief that funk ended in 1974 and ’80s stuff was considered cheesy. You’d only ever hear it if a lowrider happened to be rolling by,” Blunk says.\u003c/p>\n\u003cp>But the two DJs were drawn to the heaviness of records such as Keni Burke’s “\u003ca href=\"https://youtu.be/i_VtdpQdrh4\" target=\"_blank\" rel=\"noopener\">Hang Tight\u003c/a>” and La Voyage’s “\u003ca href=\"https://youtu.be/ZrdFv0V1ogg\" target=\"_blank\" rel=\"noopener\">Never Looking Back\u003c/a>” (both from 1982), and so were partygoers. Sweater Funk quickly created a tight community.\u003c/p>\n\u003cp>“We all felt like we had this one thing in common, which everyone else told us sucked,” says Pena. “But we knew better; doing this night kind of proved it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AUFgen5eohU'\n title='//www.youtube.com/embed/AUFgen5eohU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Less than a year in, the small basement became packed with dancers, record collectors and other local DJs—including The Selecter DJ Kirk Harper, who quickly became central to Sweater Funk—that were into the underground, gritty and incredibly danceable vibe.\u003c/p>\n\u003cp>DJ, producer and singer Eric Boss fell in love immediately. “It felt like a party someone would throw in high school when their parents were out of town in a dark basement with the music blasting, drinking beers, smoking a ‘lil something.”\u003c/p>\n\u003cp>After Li-Po’s basement shut down, Sweater Funk landed at The Knockout, which has been the party’s home since 2012. The Sweater Funk DJs also host special events at Elbo Room and open for likeminded artists coming through town.\u003c/p>\n\u003cp>The Sweater Funk crew of DJs grew to a dozen people of different ethnicities and genders, including K-Maxx, Christina Chungtech, Sean Sullivan and Sheila Hernando. The women of Sweater Funk paved the way for all-female DJ groups like the B-Side Brujas, the Chulita Vinyl Club and the Cookie Crew, Harper added.\u003c/p>\n\u003cp>The sound of Sweater Funk also evolved, adding peripheral genres such as lovers rock, “modern soul” and slower-tempo steppers. Out of respect and curiosity, DJs often play entire songs rather than mixing samples. The party’s accessibility, style and dedication to boogie and its adjacent genres garnered widespread attention, attracting like minds from across the country.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ELNb2tAo4dM'\n title='//www.youtube.com/embed/ELNb2tAo4dM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sweater Funk has been one of the main crews known around the globe for keeping the boogie style in fashion,” said Chicago-based boogie DJ and Star Creature label co-owner Tim Zawada. “Because of its persistent popularity and welcoming vibe from DJs, there has been a nice increase in the amount of artists, labels and vinyl releases focusing on a modern interpretation of the boogie spirit.”\u003c/p>\n\u003cp>Mainstream artists have embraced the boogie influences in recent years. Bruno Mars’ \u003cem>24K Magic\u003c/em> and Mayer Hawthorne’s side project \u003ca href=\"https://youtu.be/H45DtfQS0zU\" target=\"_blank\" rel=\"noopener\">Tuxedo\u003c/a> both heavily employ boogie sounds. Locally, groups like Con Brio and Los Angeles’ Orgone have been influenced by early ’80s sounds.\u003c/p>\n\u003cp>Although Los Angeles DJ Miles Tackett came up with the name Sweater Funk, after the fuzzy sweaters featured on many boogie album covers, the party’s success may be due to its unique San Francisco spirit.\u003c/p>\n\u003cp>“San Francisco is down to party. There’s still a heart to it that hasn’t been snuffed out yet. Hopefully we’re helping to keep that heart beating,” Pena said. “Ferchrissakes, we started in a basement in Chinatown! You can’t more San Francisco than that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The next Sweater Funk takes place July 29 at The Knockout. Details \u003ca href=\"https://www.theknockoutsf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound","authors":["byline_arts_13837743"],"categories":["arts_69"],"tags":["arts_2852","arts_1118","arts_1923","arts_5351","arts_596","arts_3741"],"featImg":"arts_13837776","label":"arts"},"arts_13829017":{"type":"posts","id":"arts_13829017","meta":{"index":"posts_1591205157","site":"arts","id":"13829017","score":null,"sort":[1524175222000]},"guestAuthors":[],"slug":"dj-platurn-reveals-icelands-groovy-side-with-breaking-the-ice","title":"DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'","publishDate":1524175222,"format":"image","headTitle":"DJ Platurn Reveals Iceland’s Groovy Side with ‘Breaking the Ice’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378598712″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=noKkrWo-2WE\u003c/p>\n\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\n\u003cp>https://www.instagram.com/p/BhO0BiVhxgM/\u003c/p>\n\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378600302″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"DJ Platurn, a veteran of the East Bay's hip-hop scene, delves into his Icelandic heritage and family's immigration story with his imaginative, funky new LP.","status":"publish","parent":0,"modified":1705028049,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1895},"headData":{"title":"DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice' | KQED","description":"DJ Platurn, a veteran of the East Bay's hip-hop scene, delves into his Icelandic heritage and family's immigration story with his imaginative, funky new LP.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'","datePublished":"2018-04-19T22:00:22.000Z","dateModified":"2024-01-12T02:54:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13829017/dj-platurn-reveals-icelands-groovy-side-with-breaking-the-ice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/378598712″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378598712″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/noKkrWo-2WE'\n title='//www.youtube.com/embed/noKkrWo-2WE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BhO0BiVhxgM"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/378600302″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378600302″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13829017/dj-platurn-reveals-icelands-groovy-side-with-breaking-the-ice","authors":["3250"],"categories":["arts_69"],"tags":["arts_2852","arts_1118","arts_596","arts_1143","arts_3741"],"featImg":"arts_13829483","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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