Local DJ and producer Teeko has been on a hot streak. He was recently featured on A-Trak’s Short Cut series, played a Boiler Room set in San Francisco and his performance on RevoltTV’s 1s and Tuesday is now the show’s second most-viewed episode. Teeko plays keyboard and triggers samples live, whilst flexing his ample scratching and turntable skills over boom-bap beats—creating a sound that is, in some senses, old-school. And yet, Teeko’s work also feels entirely new—especially in comparison to the four-on-the-floor EDM of many of his comparisons.

Teeko’s samples are a far cry from the smooth and glittering samples favored by future bass and dub step producers. Chopped and screwed vocals, fuzzy guitar solos, disintegrating, filthy synth tones and abrupt transitions permeate his recent Boiler Room session.

We talked to Teeko about challenging himself to do more with his live set, learning to let go of control, and the problem with getting all your music from the Internet. He is set to DJ at Return of the Boom Zap this Sunday, November 23rd at the Cardiff Lounge in Campbell.

Things have been pretty exciting for you recently. How did you end up on A-Trak’s Short Cut series?
Yeah the way that happened was really cool. I’ve known A-Trak for quite a bit—early on in the DJ battle community we recognized each other. He was already a world champion and we crossed paths in the battle scene. Early 2010, I was working on Mark Ronson’s album and A-Trak came in the studio and we hung out in New York a little. We’ve always had this “crossing paths” thing. When I did the SF Boiler Room, I got a really cool email from him. He basically told me that he had an eye on what I’ve been up to. He told me that he saw my Boiler Room set, saw some footage of me on Low End Theory and was really into what I was doing and my set up. He asked me if I would be down to remix one of his tracks and perform it on his YouTube video series. It was such a dope email and to get hit with a project like that. I’ve worked real hard on creating the best performance I could and I’m really glad that it came out on video. That performance is really hard for me to pull off live, my homie Ratha Nou did the editing for that video and did a fantastic job.

Since then I’ve been talking with A-Trak a lot more on the phone and we’ve been discussing some things on pushing this artform on a bigger scale for the future. It’s been really exciting because he is capable of advancing this thing to another level.

The Short Cuts episode showcases a very interesting set up. Tell us how you came up with that?
It took me awhile actually. I grew up playing piano and the guitar. Within the last 10 years I’ve been doing a lot of synthesizer work and playing the keyboard, along with getting down on the turntables and producing music. I felt like my 3 biggest strengths were my turntable work, my production and keyboard playing. So, basically, I wanted to put those things together and mess around. It was literally just something I did in my room just to mess around. It was like, “OK, let me pull that keyboard in a little and maybe I can play a chord while I tap some drums, and while cutting it a little bit. It was literally just an experiment with these things that I really liked.

Once I started using Traktor and feeling comfortable with their equipment, it gave me a lot of flexibility to create new and unique things. I just went for it and left my room set up like that. Everyday I would just go in and practice and try to hold down a chord progression, while I’m playing a different drum beat. I was doing something with my right hand, and something different from my left hand—which is something that comes from playing the piano. But it’s totally different when you are hitting pads and scratching while playing chords with your other hand. It took a minute for me to feel comfortable, but once it did, it felt really good. I felt like I was combining my strengths and it was very unique.

It’s different and exciting to see something like this happening for this type of art form.
I felt like it is what we need in the turntable community. Not only the that, but also in the electronic/live performance community. It just kinda felt like things were getting lame and that people were just looking at the computer screen. I knew that I wanted to improve and also show people that you can still do creative things, but you can’t be lazy. It seems like people skip all these steps and all of a sudden they are a producer or DJ—but never really learned how to play anything, except press “play” on tracks.

I’m not hating on that person, but I want people to see what I’m doing and maybe it will click in their head that this is what a real live performance is. The words “live set” have been blurred, and it is not really live at all. People are getting away with calling things a “live set.” So, I’d like to offer a contrast to that. If the bar is set higher, then maybe people will have to step it up.

You have the second-highest viewed 1s and Tuesday episode on RevoltTV; what do you think caused that huge of a response?
I just came out doing something totally different. All the material was my own. I performed one of my own tracks and then I did a “Starship Connection” joint which is me and B.Bravo. A lot of guys that get on there, have their own routine where they play other peoples music or they will cut over something. I was on there representing my own music and brought along B.Bravo to add the live talkbox, because I felt that would set it off even more and make it that much more different. I really wanted to set it off, I even wanted to have dancers. I just wanted to take it far.

Teeko Performs on REVOLT’s ‘1s and Tuesday’ from DJcityTV on Vimeo.

Tell us about the Boiler Room experience.
That 45min set was 95 percent my own material and some people didn’t catch that. I put the tracklist on teekomusic.com and if it wasn’t my own track, it was me and a collaborator. I pretty much had my hand on every track that I played during that set.

They hit me up last minute, I found out the night before. I basically stayed up all night, figuring out what of my material I wanted to do. Then I had to figure out the order and how to break it down. I was careful on how I wanted to represent it—which styles I wanted to cover and what tracks to drop. In the process, I was real hyped and excited to show a lot more people about what I’m doing, on that platform. I’m a fan of a lot of people that have been on there. It was honor to get a call to do it. During the whole set I was really hyped, it was an emotional thing. It was nice to have homies on there and it was dope to take a step back and give somebody a pound.

You talked about the whole process of putting together a set. When it comes to crafting a routine, is it something that occurs to you right away or do you take the time to be meticulous about it?
Definitely meticulous, but sometimes it falls in right away. But especially with a show that is archived and ingrained in history, I knew I had to come through and not mess up. So I put a lot of pressure on myself, especially because I’ve had this little voice in my head. For a few months, before I got the call to do Boiler Room, I had this weird thing where I kept feeling like “I gotta document, document, document…” I realized I was onto something new and it has been a really long time coming. Getting to this point with my set-up, and my abilities have taken so many shapes. I’ve traveled on this road where I have learned so much and had so many different experiences and have re-invented myself.

This voice was reminding me that I’m not going to be here forever. My body might not be able to take performing this long, it’s a lot of work for me. I only have a certain amount of these live performances left in me. It’s not infinite, its finite. There is a point that I’m not going to be able to perform anymore and just work on production and be behind the scenes. When I got that call from Boiler Room, it was like, cool I could take a breath. Like if I died tomorrow, I got at least a couple of videos and people could see what I was doing. My story could get heard. My life has had many ins and outs and so many roads I’ve taken.

I lost one of my best friends three years ago and he was way too young and all that kind of stuff just sticks with me. I don’t take stuff for granted and I feel very blessed to have my abilities and to be able to do what I do.

How has your recent success and the loss of your friend impacted you?
I feel more and more blessed. With every little opportunity, it keeps me going for sure. Just like every artist, I’ve gone through the stages of “Should I keep doing this?” or “Is this the right thing?” or “Maybe I should stop, this is frustrating.” But these exciting things are just a reminder for me to keep going. For example, when someone hits me up to do a remix or even an interview, when people want to actually talk to me and hear what I’m up to, I think, “Yeah! Maybe I should just keep going,” or “Maybe I should make the craziest shit today and give those people something to just freak out on.” I like freaking people out. It’s like watching someone fly. I want people to see that. Something like magic, something that brings back that fantasy element.

Where do you draw your musical inspirations from?
Sometimes I feel like I’m truly making music and sometimes I feel like I’m capturing it. Sometimes it’s more like it’s coming through me and I’m just trying to catch it. Here is a misconception and this why I think I people struggle with writer’s block, because I don’t really have writer’s block: I don’t feel like I’m actually fully in control. A lot of people want to be and feel like they are totally in control of their creative experience. For me, I try to let go of all that and find places that allow me to feel not in control. That is why I love the turntables so much, because there is a lot of room for weird shit to happen. I’m constantly looking for this area that wasn’t supposed to happen. It’s like a happy accident or the sweet spot. I’m listening to where my mind wants me to go, it might lead me to a certain sample or an old record and hear something in that. It’s really letting go of feeling like I’m totally in control.

When I’m making music, sometimes I feel like I’m a painter. Other times, especially when I’m sampling, I feel like a photographer. For example, it’s like I see a tree and the tree is perfect and I want to take a picture of the tree. I find the best angle of the tree when I shift it and move it a little bit this way. That is most beautiful shot and my job is to do that. But I have to see it and figure out the perspective and which angle to shoot it at. See, I didn’t make the tree or make the mountain, but maybe I’m the guy that says, “Yo, the tree should go on the top of that mountain.” I’m just shifting things, moving them and manipulating these things that are already in existence.

I have to stay aware of these signals that tell me where to go. I have to find the true purpose of the piece and I try not to feel like I’m totally in control. That’s the letting go of this ego that says, “I’m the creator. I’m making this music.”

What is something you would change in the music industry?
Basically, the most powerful thing—not only in the music industry—but also for humanity, is the Internet. Since we’ve been using the Internet (and it hasn’t been that long) I feel the way the music industry shifted into the Internet was way off. It was reactionary and adaptive and doing things quickly. The first Internet experience of getting music for free was through Napster, then iTunes came in and made every song 99 cents and it became a digital flatline. Then SoundCloud came in and said anybody can upload. It has then become, like a music industry standard and SoundCloud was not ready for that, nor did they test the delivery method of the music. It was not designed for that. I was at a meeting with A&R at Interscope Records and the A&R guy was scouting on SoundCloud and I thought to myself, “Wow, he is on SoundCloud, listening to some random producer and he isn’t even looking in a pool of professionals”.

We have people manipulating plays and likes, just playing a numbers game on the Internet. It’s fraudulent and it’s just a marketing scheme. Those numbers were never meant to be in front of the listener. The way it used to be, was those numbers were meant for the backend that you presented to your distribution office. Now, those numbers are in front of the listener and they can comment on your music. They can see your wav form so they know when the drop is coming or when something is gonna happen with your music. I feel that the engagement between the music and the listener has to be kept completely pure. Take away all that stuff and just use your ears to listen. That is all you need to appreciate it, blind people can appreciate music.

You’re coming to Return of the Boom Zap on November 23rd and it isn’t your first time. What do you enjoy about DJing at that particular party?
It’s a great crew, great sound system and a big old sign that says “No Requests.” I always look forward to hearing what these guys are doing. It’s good vibes and it’s fun. Plus, I get to test out a bunch of new stuff at that party. I’m gonna drop a bunch of new shit over there for sure.

What is your choice beverage and snack while in the studio?
I got the dark chocolate, walnuts, cashews and an organic apple fig newton. As for a beverage, I would have water and a yerba mate.

Anything else you’d like to say?
Always remember that the desired effect is what you get, when you bring your funky booties down to Cardiff Lounge on November 23rd at the Boom Zap all the way funked out edition.

DJ Teeko Shimon spins at Return of the Boom Zap this Sunday, Nov. 23rd at the Cardiff Lounge.

Derrick “Dstrukt” de Mayo has a thing for pineapples, grapes, and V8 Juice. Believe it or not, these are the very things he needs in the studio to get the inspiration going—which was what inspired his newest EP, Pineapples and Grapes. When he isn’t busy in the studio, you can find Dstrukt spinning at 55 South’s weekly soul dance party, Motown on Mondays, and making (good) fun of colleagues in the prolific South Bay DJ collective, BVMO.

Metro recently had the opportunity to talk and share some laughs with Mayo. We found out how he ended up in the panoramic class pictures for both Mt. Pleasant’s and Silver Creek high schools panoramic picture, discussed the beautiful inaccessibility of cassette tapes and found out how he really feels about the DJ community in San Jose.

Back 2005 you landed a sponsorship from streetwear clothing brand Acrylick. You then became an official DJ for the brand and now you are releasing your next EP with them. How did all that come about?
I did one mixtape with them, and one of the reasons I got sponsored was because I was a homie. At that time they didn’t know big artists in the industry like they do now. I did one mix tape with them and it went pretty far.

After that, I started going out and doing my own endeavors. Now with this new house EP coming out I knew I wanted it to be really special, especially with it coming out on cassette tape. I knew I didn’t want anyone else to sponsor it except them. I don’t do weekly mixtapes with them but rather special things—like this EP for example.

So let’s talk about your upcoming EP, titled Pineapples and Grapes, which you are releasing on a cassette tape. What can we expect to hear?
Two joints on the EP are disco house and two joints are like deep house. Then there is this one that is a retro ’90s house track. The vocals, the drums, the samples, is all of that retro 90’s house stuff.

Why did you want to release it on cassette?
Music is so accessible, which is cool. But everyone is so stuck on downloading music and then listening to it for just two days. I feel if I give something to the consumer that isn’t as accessible, they might appreciate it more. And plus, its physical. You get to see the artwork and you get to hold it. As opposed to Soundcloud—I’m not knocking on Soundcloud—but everything with it is so quick. So, with the cassette tape, you have to really listen to it. And its not for the marketing or anything. I’ve always wanted to put something out on tape.

So, how do you feel about the short shelf life of music?
Well it doesn’t give people the opportunity to cherish the masterpiece that the artist made for the listener. As soon as they start loving something, they are already on to the next one. And sometimes I wonder if people really take the time to listen. And thing is that with all this music, things can start sounding the same. So it’s great to take your breaks, go back into it with fresh ears.

What inspired the title, Pineapples and Grapes?
This is the story: As a kid I never ate fruits. I would get stomach aches from fruits. Finally, this year, I started eating it and my stomach wasn’t hurting. So, for a month straight, I would eat pineapple and grapes in the morning. During this process I was also listening to house music and started creating house music. I never knew I liked pineapples and grapes or house music—and it was like a light coming from the stars. I really liked pineapples and grapes and I really liked house music. Pineapples and grapes triggers this creative thing in me and it changed my life (laughs). On a side note, when I’m in a rut with music, I drink spicy tomato V8 juice with garlic tabasco sauce and a of sprinkle black pepper. Actually, right now I’m drinking a smoothie out of a wine glass and kicking it with Shea Butter.

Wow you guys and your liquids.
(Laughs) That is why we are called BVMO!

Speaking about BVMO, what is going on with you guys currently and what can we expect in the future?
We remain a unit, but right now everyone is out there building their own individual strengths. We still collaborate on tracks here and there, but right now everyone is doing their own thing.

Sum up each member of BVMO, in your own words
BVMO is the most versatile music crew I have ever been in. From style to personalities. Everyone has their own strengths. We are like the Power Rangers robot. But to sum up each member of BVMO:

-Smoovgroovs is melted dark chocolate on top of your sundae. He is raspberry molasses.
-Rcade is the wrecking ball that crashes your building. He is King Kong and he will take your oreo cookies.
-Shea Butter is the Dalai Lama. He is the spirit and soul of BVMO. The most versatile and handsome (laughs). He is the glue that keeps everyone together. He is Cassanova.
-And myself, well, I’m also a wrecker. But I’m also a sensitive thug, like I’ll put on some Lionel Richie.

You recently released a music video for the remix of Yuna’s song, “Lights and Camera.” Why of all songs you’ve made, did you decide to do a music video for that one?
I’ve never done an indie pop/electronic joint. Out of all the tracks I’ve made, I really enjoyed making this one. It was so left field for me. I got such a great response out of it. So I wanted to do a music video for it, especially because the lyrics told a story.

Yuna – Lights and Camera [Dstrukt Remix] from DjDstrukt on Vimeo.

What’s your experience within the community of DJ’s in San Jose?
Well first, here is one fun fact. I went to Mt. Pleasant High School, but I kicked it at Silver Creek High School so much that the teachers knew me. I also ended up in both panoramic pictures at each school. I don’t think anyone has ever done that. So, if you look you will see me in both Mt. Pleasant’s and Silver Creek’s panoramic pictures.

As for the DJ community, it’s a super close-knit community. If you’re in it, then it means you’ve got skill. We support each other and we DJ together. We give each other gigs.  We are one big family and within it we all have our own individual crews. The competition keeps it healthy. So, we have dope music, dope people, skillful DJs and we all get along together. Plus we are all comedians (laughs).

Do you think as a crew, you are carrying the traditions from other DJ crews in the South Bay or it’s about innovating?
We are innovating right now. Especially because I feel there are a bunch of kids that don’t have respect for the turntablist culture. We consider our generation the last generation of real DJs. I don’t know younger kids that are interested in scratching or all the technical stuff that a DJ crew should have. Now you can just go on Soundcloud and load up music on your laptop and then DJ at your friends party.

So do you feel its important to pass your knowledge down to younger people interested in DJing?
I would love for young cats to ask me to help them. For those who don’t know how to cut or how to use Ableton—I would love to teach. But I don’t think it’s like that anymore. I feel it’s important to have leaders in our local cities (that are DJs) to provide more substance within the whole DJ culture things like battles as opposed to “oh I’m going to load up my mix on Soundcloud or whatever and now I have X amount of followers.” But honestly, for the younger kids interested in learning, hit me up. It’s about spreading the love, as cliche as it sounds. Spreading the music and everyone getting better at their craft. I want students. I’m still a student and I’m learning more, but I’d definitely be down to help.

You are one of the DJ’s for Motown On Monday’s at 55 South. It’s been quite successful for the most part, what do you think makes the San Jose MOM different from other MOM parties?
At the MOM SJ party, we have the local DJs and we also have a bunch of guests DJs. Also MOM SJ tends to pull a younger crowd, mainly college kids. Some of these kids don’t know what’s up with what we are spinning but they get to listen to some awesome music. It’s also awesome to meet other DJ’s face to face, rather than their Facebook wall. Everyone comes out and we all get to meet each other. It’s a good mixed crowd.

You’re finishing up with a gig at MOM, where do to grab a bite to eat?
Angelou’s Mexican Grill. You’ve gotta get the loco moco burrito and a side of nachos and fries.

It’s hard to get a moment of DJ E-Rock’s time. Known to close friends and family as Eric Nagrampa, he is better known by his stage name in clubs all over the country—from the Bay Area and Las Vegas to Atlantic City. He’s performed for the likes of Barry Bonds and John Legend, and counts Colin Kaepernick, E-40 and Jazzy Jim as friends.

The San Francisco based DJ will be performing at Pure Lounge in Sunnyvale on Friday, mixing up club hits with big EDM sounds to keep the party rocking. Recently, Metro was able to catch E-Rock for a few moments to chat about his music,his philosophy on life and what kind of food he and Kaepernick eat when they hang out.

You have a pretty busy schedule—Saturday night resident DJ at Haze Nightclub in Las Vegas, monthly residencies at Fluxx Nightclub in San Diego, AV Nightclub in Hollywood, and Infusion Lounge in SF. You also keep quarterly residences in Scottsdale, Sacramento, Atlantic City, Chicago, St. Louis, Reno and other cities. Is this pretty much a full time gig for you?
I have a few things going on and doing gigs is definitely a huge part of it, at least 60 to 70 percent of it. I also manage “E-Rock” as a brand and business. I do all the bookings and marketing for Infusion Lounge in San Francisco.

I have a radio show on Club 99.7 every Friday from 1am-3am and I am also the brand ambassador for Shoe Palace, where I work directly with the marketing team—coming up with new and fun ways to raise brand awareness.

I DJ for the San Francisco Giants and currently have a record out with Clayton Williams featuring Nayelli called Move it All Around, as well as a remix that I’m working on with E-40, Problem and T-Pain. So there is definitely a lot I am doing, in addition to all my gigs.

How do you manage travel life and being away from home?
I live in San Francisco, and to be honest, I live two extremes. When I am at home, I focus on my family, but I also run a business from home. Everything is pretty centralized and with the way the cards are dealt, I’m blessed and have an extremely supportive family.

People always ask me, “How do you do it?” and it all really falls into place. When I’m on the road I do miss my family, but I’m never really torn. I have such a great support system, so it’s easy for me.

I know I’m out there trying to make them proud and at the same time they have their pom poms up, cheering me on. It makes it easy to tackle new ventures. E-40 had it the same way and I feel like that is the heart of everything—the support system. Growing up and having Jazzy Jim and E-40 as my mentors, and seeing how they did it, really helped me.

You really emphasize having a solid support system, having mentors and how things fall into place—how has that made a difference for you and your career?
Well here is the thing. Three years ago I lost my father. He was remembered as one of the best dudes you can ever know. People knew him as one of those class-act, stand-up kind of guys. Going through all that and soaking it all in, I got to reflect on “How do I want to be remembered?”

At the end of the day, the plaques I have on the wall or my extensive sneakers collection, they don’t go with me. I learned it is more about doing good deeds, your character, the acts of class and who have you helped. All that really started that matter to me, because you don’t always understand the impact that someone can have.

What words do you have for DJs coming up, or anyone going after their dreams?
Realize that with all the good also comes a little bit of the bad—and with the bad also comes some good. If you can’t handle things at their worst then you can’t handle them best.

It’s more important to be nice. To be a great DJ, baseball player, a great whatever—really means being a great person.

I went through things in my life  and I had to really reevalute how life was going for me. The key takeaway I got from that time was this “partial disobedience is complete disobedience”

If you can get past that threshold of pain, then you can do anything.  I’m not ok, with just being ok. When you start getting that, you will raise some eyebrows around you.

Could you talk a little bit about how you started DJing?
I got into it when I was 11 years old. I had a friend down the street that I would play video games and skateboard with. One day, I was over playing Duck Hunt or Super Mario Bros., and his brother and a friend were in another room. I just kept hearing these noises and I peeked through the door to see what was going on. They were DJing and so they invited me in. At that point, that was it for me.

I would still go over to my friend’s house to play video games, but I also wanted to sit there and watch those guys DJ. I started learning the basics and one day I got handed the headphones—and boom—that was it.

One thing led to another, and one day I had this mixtape from Rick Lee. At the end of the mixtape, Rick Lee would leave his phone number and I got bold and decided to page him. I think I paged him “911”—he ended up calling me back and I started picking his brain and becoming the annoying kid that wanted to learn. I ended up interning for Rick Lee, like I carried records and speakers for him. My first experience on TV was actually when I was carrying records for Rick Lee, when he was on First Cut.

When did you first get noticed in a major way?
Jazzy Jim has been really helpful with all that. I remember I was chatting with him through AOL chat and what he would say was just so inspiring. I knew one day I wanted to work for him, and I have been working for him since I was 17 years old—I am 35 years old now.

One thing about him is that he wasn’t scared to share his insights. I would work with other people, but I felt that some of them never really wanted me to understand things. But with Jazzy we would be in the office, manifesting the next move—every day for years, he wasn’t scared to give me a shot and set me up for success. He holds me accountable, pushes and inspires me.

You are also good friends with 49ers quarterback Colin Kaepernick—so I am assuming you’re a 49ers fan, right?
Yes. My grandma was a diehard fan and so it’s in my DNA. I remember when I was with my grandfather and I was showing him some pictures of Kaepernick. He was speechless. My grandma always wanted me to be a 49er, so it’s amazing how it circled back this way.

And yes, Kaepernick and I are are good friends. He and I (and a few others, like Kaepernick’s older brother) are on this daily group text. We never talk about football, it is all about motivating each other. We get along so well, because we share the same story and work ethic, we all share the same values. We see eye to eye, and it also stems from this whole “no pain, no gain” mentality.

Have you been to Levi’s stadium yet?
No, I haven’t yet, but I am going this Sunday. I’ve been so used to going to Candlestick, so I am excited.

What do you enjoy the most about it DJing out in Vegas?
I have been at one club for three years, and every night it is a brand new night. You are never entertaining the same crowd. A whole new set of thousands of people, week after week, and it is always fresh. You meet people from different backgrounds and different walks of life. It is a big driving force for me when someone from somewhere like Boise, Idaho, goes to my show and loves it, and they go on to become a fan of Infusion in SF and what’s going on in the Bay Area.

People go to Vegas to have the best time of their lives and I love being able to enhance that experience for people. I seriously get at least 20 high-fives every time I DJ there. It is rewarding when people want to come back and become a fan of what I’m putting out there.

Where do you think music is headed now?
You see it go through many cycles. At one point it was nothing but hip-hop and wondering when all the dance music will come back. Nowadays with genres getting mashed together or meeting each in the middle, it’s cool. I never thought that deep house would be as big as it is now. The jist of what I play is twerk and trap, but I am an open-format guy. I just have to be aware of what is big in every genre, never leaning just one way. So we are just in a cycle right now. Who knows what the next big record is?

Being from the Bay Area, do you have any favorite spots to eat in the South Bay?
I don’t hang in the South Bay much. I come down there when I have a gig at Taste, Pure Lounge, a meeting at Shoe Palace or when going to Kaepernick’s house. We usually just order Chipotle—all the way. And I text him to ask if he wants black beans or pinto beans (laughs).

Any closing thoughts?
To be a successful at anything, everything has to click. For me to be on the phone with you right now and to talk about my accolades and all the things I have learned comes down to attitude. I believe your attitude about life, will be a reflection of your life.

After my gig in Vegas, I get off the plane every Monday—same plane same gate—I always take the same escalator and there is usually a kid or man at Oakland Airport playing the piano. I have a lot of time to reflect when I am in flight and one day I had $40 in my pocket and I just handed it over to the piano guy. It is all about paying it forward. What you put out there, is what you receive. It is not a form of manipulation. Just help and inspire as much as you can.

DJ E-Rock plays Pure Lounge in Sunnyvale on Sept. 12. More info.

With more than two decades of experience, DJ Remedy is one of the most senior selectors on the South Bay nightlife scene. The San Jose native has been spinning since 1993—back when beat matching was done by ear and scratching took serious finesse. His skill and dedication are highly respected in the local DJ community. Cutso, of the The Bangerz crew regards Remedy as “one of San Jose’s unsung heroes.”

Many know Remedy from his weekly sessions at Soul Therapy, the Friday night dance party at Myth Taverna and Lounge. Fewer may be familiar with his long history of rocking house parties and competing in DJ battles. And fewer still likely know his favorite item on the CREAM menu. Remedy covered all this in more during a recent chat with Metro.

Where are you from and how long have you been DJing?
Born and raised in SJ and been Djing since 1993.

How did the name DJ Remedy come about?
It’s a funny story. My name at first was Poison—I even started drawing a logo and then my brother took it. Finally on a Saturday night, my older brother said, “what would be the opposite of poison—remedy.” I thought to myself that it was dumb, as everyone else had names like Grandmaster Flash and what not. But with Remedy, it just stuck.

So tell me how you came up in the DJ world?
I started practicing my freshman year with two records, P.M. Dawn’s Set Adrift On Memory Bliss and Erik B. and Rakim’s Paid in Full. I just practiced mixing it back and forth and studying the drum patterns. During those days you relied solely on your ears and you would count the breaks on your own. Then I quit, for about month. One day though, there was a lunchtime DJ at my school and I noticed a lot of girls going up to him. (laughs) I thought to myself, “I think I wanna learn again” I started practicing, quietly for about a year, before I told anyone. I started DJing house parties with just a small crate of 30 records. During that time freestyle, house, and hip hop was part of the scene. My friends used to get mad at me, because I always wanted to battle. I would go up to different DJs and ask them if they wanted to battle. My first battle was organized by a church when I was 14 years old and my mom had to drop me off. I was also part of a DJ crew called Mad Hatters, which consisted of myself, Evilhead, DJ Fresh Sy-ence, Venom 347, and Classic.

Sounds like you have some deep roots in the DJ scene out in San Jose and across the Bay Area. Your brother had a hand in that, right?
Yes my brother owned Hot Wax Records in San Jose from ‘95 to ‘98. I got to meet all kinds of DJs there—DJ Fresh, Majestic Chris, Jazzy Jim and The Bangerz—pretty much everyone in the Bay Area.

With your musical background, how do you balance the old school with the new school?
For me it is really simple. There are those classic songs that you can drop and you know people will love it, like a Biggie song. And for the newer stuff, I don’t separate them from the old school stuff. I just play beats. That is my trademark. My definition of “beats,” is when you hear it and your body is moving, your is head nodding and you can’t resist it. I try to keep that vibe and have the crowd follow me on a musical journey.

What do you have in mind when you are putting a mix together?
I take it like story telling. I start it off with an introduction and then I go deeper, to finally ending it on a happy note. I think in threes. When it is a live mix, I go with the way the crowd feels. I read the crowd and freestyle it from there.

How do you feel about the current scene in San Jose?
I think it’s really good out here. We have everything. Spots like the Cardiff Lounge for  Return of the Boom Zap and Rubber Soul and music of all kinds like Top 40, hip-hop, Motown on Mondays, Sunday Sessions, Soul Therapy…

What are your favorite spots to eat in SJ?
Taco Mania. Mini Gourmet. CREAM—I get a chocolate chip cookie with mint chocolate ice cream.

Football season is here. Who is your favorite team?
The Philadelphia Eagles.

Anything else we should know?
Yeah! (laughs) I’m a huge Oaklands A’s Fan!

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DJ Remedy will be spinning at Myth Taverna & Lounge in San Jose on Friday, Aug. 29; at Taste Restaurant & Nightclub in Santa Clara on Saturday, Aug. 30; and at the Season Finale of the Sunday Sessions day party at Myth Taverna & Lounge in San Jose on Sunday, Aug. 31.

Back when J.Espinosa was 17, he made his first appearance on WILD 94.9 and to his success, has remained there ever since. In addition to two shows on the station every week day, he can also be found at club gigs throughout the Bay Area, including one at Taste Nightclub in Santa Clara on July 11.

We caught up with him to talk about life as a radio DJ, his approach to club gigs and his favorite eats in the South Bay.

With two radio mix shows on WILD 94.9 Monday-Friday, how much time on average do you spend DJing or preparing to DJ?

I DJ so much in the club and on the radio, my work is like my practice. I get off the radio at 9pm and practice until like 3am. The first thing I do in the morning, is look for new music, I check DJCity.com and follow a lot of people on my Soundcloud.

What’s your approach to radio broadcasts vs. performing at a club?

Clubs are where you test new stuff out to see if it is going to work. The radio is where you play everything that worked in the club. The risk in the club isn’t as high as it is in the radio. When you play a song that people don’t like on the radio, they are going to tune out. The radio is like the big leagues.

How did you manage to get on air at 17 years old?

It’s a long weird story. Back then I was DJing in my bedroom and I was listening to the radio all the time,  it was my dream to be a radio DJ. Chris the Rebel, from 94.9 was coming to a club in San Ramon, called Club Access. I made a mixtape and took it to the club and I went up to Chris the Rebel and asked him if I could DJ on the radio and gave him my mixtape.

At the same time, some other guy gave Chris my mixtape, saying that it was their tape. It was found out that the original mixtape was mine and Jazzy Jim (the boss of 94.9 at the time) wanted to meet me. He had just opened up a record store in Fremont and I had no way to get over there. I ended up taking my mom’s car without her knowing. I got to meet Jazzy Jim and he asked me to come to the radio station with him. He told me to bring my records and I found out that I was going to DJ on the radio.

Back then, I used to DJ on three turntables and I made this crazy mix. It was the first time I got to DJ on the radio and I have been there ever since. That was in 2001.

What was your first paid gig?

It was Club Access. I got paid $50 to DJ from 9:30pm-10pm when no one was in the club.

How would you describe your technique and who in the industry was your biggest influence?

I always try to be unexpected. When you DJ at the club, you are going to hear all the new popular songs, but I always try to do something that is not normal. I will play something random and I want to give people something to remember. They aren’t going to remember the 49 songs that I play in an hour, but I want them to say “I can’t believe the DJ just dropped that track.”

I also try to do at least one trick, something crazy technically, that maybe only a handful of people in the club would know. I do something to make those guys happy and then I will do something that the majority of the people will remember. I try to take care of everybody and have fun at the same time.

The guy who made me want to be on the radio was Jazzy Jim. He is the same guy that did the 5pm mix that I do now. I used to watch a lot of VHS tapes of DJ battles, like Q-Bert and Atrak.

Who are some of your favorite DJ’s/producers right now?

I like a lot of the Soulection stuff. Whooligan is a friend of mine. Sango. Carmack.

Lambo. Kennedy Jones. Flume. DJ Snake. TWRK. And Falcons, my girl DJ Noodles put me on them.

You also had a gig Manila. Do you perform overseas much?

Not enough. I went to the Philippines twice and to Indonesia once.

How was the Manila gig?

It was amazing and kind of surreal. I never would have thought in a million years that people would fly me out and pay me to travel, anywhere. I’m on the plane going to another country and I’m sitting back in my chair thinking, “Wow, DJing took me to do this.” That was the first thought.  Then there was the actual experience of being in another country and seeing how culturally things are different.

Being in the Philippines was great. They showed a lot of love. The clubs out there don’t close and they also sell food. I was ordering pizza and chicken wings.

You make it down to the South Bay often for gigs. Do you have any favorite stops before or after your set?

Taqueria Tlaquepaque, La Vic’s and a Vietnamese spot on Santa Clara that I can’t remember the name of.

What do you enjoy doing during your downtime?

Watching Game of Thrones, but it just ended, so I don’t know what to do with my life now (laughs). I like to find good places to eat.

Name three places in the Bay Area everyone should visit at least once?

Limon in SF. One of my gigs. Purple Kow in SF or in Berkeley or Tpumps in SF.

It’s officially summer, what are some of your top summer jams this year?

Disclosure – Latch, that song just kills it no matter where it is played. I feel like everybody loves it. Also, Childish Gambino – 3005, It’s not that new, but I really like that song.

What’s next for you?

I just did a remix of Sam Smith’s Stay with Me with my friend Drino. It is actually with Sam Smith’s label right now and we are waiting to get it approved as an official remix on the label.

With the summer solstice and the official start of the season arriving on June 21, we hit the streets of Silicon Valley to ask: What is your favorite summer song?

Pick up the June 18 issue of Metro to see what some of the best local DJs pick for their favorite tracks. Share your favorite songs in the comments section.

“Summertime” by DJ Jazzy Jeff & The Fresh Prince takes me back to when I was a kid. It has old school lyrics that remind of good times with family. ~ Lynelle Duarte of San Jose | Sales & Service

“What Does the Fox Say” by Ylvis. It is my son’s favorite song. ~ Vivian Moussa of San Jose | Teacher

“I Get Around” by Tupac. I like it because the video has the hip hop pool party. ~ Mike Millares of San Jose| Co-Owner of The Usuals & Showroom SJ

“My Head is a Jungle” by Wankelmut (MK Remix). I like house and techno music and this song is what I have been listening to alot. ~ Mike Kazarnovsky of San Jose | Sales

“Change” by iiii because my friend’s are in this band. ~ Zoe Winter or San Rafael | Musician

Every decade has its cocktail fashions. The ’50s brought Irish coffees to the U.S., and, in the’60s, pink squirrels ran wild. Harvey Wallbangers and tequila sunrises raged in the ’70s and in the ’80s we had sex on the beach. The ’90s brought mojitos stateside and helped kick off the labor-intensive craft cocktail craze. The Moscow Mule returned to claim signature drink status in the present era.

While many drink pandemics originate in foreign lands, in decades past or in the ambitious, calculating minds of corporate brand marketers, every once in a while a humble entrepreneur contributes a libation to contemporary cocktail culture. Jorge Sanchez was recovering from a partnership implosion in Campbell when he took over Chacho’s, a dive on downtown San Jose’s San Fernando Street.

His luck turned with the creation of the Hennchata, a simple mix of traditional Latin American rice drink with Hennessy. And lest anyone question the addition of brandy from the Cognac region to an Aztec agua fresca, just remember that many people think mariachi music came from the French too, though no one would ever hire a guy named Pierre to play trumpet at a bar mitzvah.

Not only did Mexico save uniformed horn bands from extinction after the Maximilian Affair, its national drink has rescued French brandy from becoming a Coke mixer promoted in bad hip-hop songs. The enabling technology that makes a Hennchata more than just another mixed drink is an L-shaped plastic clip that clamps onto the rim of a thick-walled, stemmed chavela glass. The patented device holds an upside-down airline bottle of liquor in place, with the alcohol suspended by gravity-defying laws of physics.

The bottle is loaded into the plastic aperture and dropped inside the horchata without emptying its contents. There’s no fancy technique, like tilting the glass diagonally or sealing the bottle’s mouth. “You just do it quick,” explains bartender David Sizemore, demonstrating with a flick of the wrist how Monsieur Hennessy dives into the milky mix at a 90-degree vertical angle.

Drawn through a straw, it starts off as a plain horchata, with a sweet, full mouth and just a hint of alcohol.  A few sips in, the grape brandy gurgles slowly at first and the horchata turns amber. The remaining distillate evacuates its glass holding cell, creating a high alcohol mix. It’s the reverse of most cocktail experiences, where the drinks get weaker and less tasty as ice melts and dilutes the beverage.

Sanchez says he’s number one in Hennessy bottle sales in Northern California and sold 17,266 Hennchatas in a single year. LVMH Moët Hennessy executives have arrived by the busload to deconstruct the phenomenon and invite the restaurateur, a native of Gilroy, to red carpet movie premieres in Hollywood.

Not content to rest on his laurels, Sanchez was standing on a ladder Tuesday evening with a cordless drill in his hand, affixing sheet rock to steel studs. He was handed the keys to the former gourmet cupcake bakery location next door and will break down the wall to expand his now-cramped eatery.

Sanchez is also trying to invent the next bar hit, mixing Don Julio tequila with mango base to create the “mangolada,” another upside-down drink garnished with a tamarind chili dusted straw.

He’s hoping that lightning in a bottle will strike twice. Even if the laws of chance prevail, there’s still the Hennchata, a new drink classic invented in Silicon Valley whose popularity shows no signs of letting gravity get in its way.

Hot summer weekends all but demand a drive to the beach, but Sundays offer a good reason to stick around: a solid schedule of day parties. Whether it’s live music or DJ, here’s a sampling of ways to wile away the summer days.

The Social Brunch Series @ Sp2
Sp2’s outdoor set-up—a massive patio with wood, brick and succulents—stands on its own. Every Sunday guests can do brunch or drinks on the patio and catch live music.  “The Social” features a rotating lineup of bands like Nesta, Hot Pockets, and No Water After Midnight playing R&B, funk, jazz and reggae.

Last Call @ Motif Lounge
With no music boundaries and no dress code, Last Call at the Motif Lounge is all up to what the DJ picks. A standing party for the last five years, Last Call has hosted guest DJs from the Bay Area and beyond. Rotating DJs Eni, Aj Orbit, Two Tons, and Eternal keep the party going Sundays, 4:30-9:30pm, playing just anything on the bpm gamut: trap, hip-hop, house, drum & bass. It’s the kind of party for anyone who loves to get down on the dance floor or who doesn’t mind a few sonic surprises.

Sunday Sessions @ Myth Taverna & Lounge
Every first and third Sunday on the newly renovated patio at Myth Taverna & Lounge, Sunday Sessions brings together fans of R&B, hip-hop and soul. Talents such as the legendary DJ Jazzy Jeff have come to rock the crowd, assisted by a rotating lineup of DJs: Goldenchyld, Wen Davis, Cutso, Remedy and Rated R. Sunday Sessions runs 2-10pm, but has been known to reach maximum capacity by 5pm, so an early arrival is suggested.

Detox Sundays @ The Fairmont Hotel
In its seventh season, Detox Sundays at the Fairmont Hotel will kick off June 22 with L.A. and Las Vegas DJs David Garcia, JJ Flores, and Fabian. Patrons enjoy the rooftop pool, with access to both a full bar and poolside bottle service, with house beats rocking from midday to sunset.

SubZero festival was back in the SoFA District over the weekend with its first two-day lineup highlighting the best of San Jose’s arts subculture.

We asked a few attendees what they like most about the festival. Share your thoughts in our comments section.

SEE MORE: Photos from SubZero Festival

“I love the vibe. I love the weather. I love folk artists and the local artists. It has been fantastic; I especially love the reclaimed clothing,” ~ Justin de Cinu | Toronto

Rachel Di Gregorio (left) and Andrea Marinez

“What I like about the SubZero festival is that there are note many festivals like this around the area. In brings a lot of different kinds of people together for a really good cause—beautiful art. I like about it has lot of local stuff and it’s neighborhood friendly.” ~ Andrea Martinez | San Jose

“For one thing, it is local in San Jose and it is walkable and accessible. Mostly the culture that is here is unique. Its fresh, fun,and there is a lot to see. Seeing upcoming brands and everyone trying to get their brand out is always great and to find out what is new.” ~ Robert Toledo | San Jose

“It’s my first year here and I really enjoy the arts and seeing the artists. I liked the exhibit with the models posing and seeing all the people dressed up—it is very unique.” ~ Carol Bautista

As one of the resident DJs at the Cardiff Lounge’s popular party Return of the Boom Zap and a regular at several other Silicon Valley parties, San Jose DJ AJ Orbit’s selections can range anywhere from house to Jersey bass to all vinyl 90s R&B/Hip Hop sets.

In addition to ROTBZ, he can often be found at Last Call at the Motif Lounge and GNAR at Nomikai. We had a chance to chat with him for a bit on his life as a DJ and being part of the San Jose scene.

When did you get into DJing/producing & what sparked your desire to pursue it?

It started in the 4th grade when I was at my friend Jarold’s house and I got to first put a vinyl record on the turntable. It changed my life. I was already a dancer and music lifted me to another level. My great grandfather was a piano tuner. Music just always hit me.

What are some challenges you face as a DJ/Producer?

I personally have ADD when it comes to genres and developing my sound. I love everything. Djing comes easy to me and I want to challenge myself by playing live. I have always wanted to push for live performances.

Describe one of your memorable gigs?

There are so many. But a recent one was DJing at FanimeCon. It was a younger crowd and I started my set by carrying the energy from the previous DJ. He was playing some hip-hop and I continued with that and then I played a song from the 60s and the crowd loved it. The crowd ate up everything I played. Right after the gig, I had a few stickers of mine on hand and there was a line of people waiting to get stickers from me. In that same line was a guy and a girl who told me they had just met each other during my set and they fell in love each other and fell in love with me while I was DJing.

You have been busy lately, doing Return of the Boom Zap twice a month, GNAR, Last Call, The Tech Museum After Hours etc. and you just came back from doing a few shows in Midwest. Tell us about that experience.

It was a culture shock but very awesome and life-changing. I barter skills with the person who does my hair. She is a rapper by the name of Shines Fresh and I make beats for her and show her some technical things in exchange for her doing my hair.Her friend Tmac (also a rapper) from the Midwest needed a DJ to go on tour with him. He ended up flying me out there. They turned a sports bar into a club and the subwoofers were so powerful that you can see the dust fly off the countertops. People out in the Midwest were so nice that they even held doors open for me. It is very laid back there and when I came back I found myself in less of a hurry.

You are known for having nearly endless amounts of energy and a vibrant style in both dress and music. What are some of your biggest influence in life?

Well first I have to thank the master of all of this, but as far as influence goes art really influences me. Art museums, performance art, dance, paintings and even yoga. Musically, I am really into this guy named AWE and local talents like B. Lewis.

What are a few things we can expect to hear/see from you in the near future?

Live performances, an album and more music.

Being from San Jose, do you feel growing up here plays a role in your work?

Yes, there is much going on in SJ, not just in music but also in technology. There is a lot of artistic energy here. Most of the DJs and artists are intertwined and connected in some way. There is a lot of talent and really good people putting great stuff out there. San Jose is my home.

So you are just getting out of a gig in the South Bay, where do you stop to grab a bite to eat?

Bo De Vegetarian off Silver Creek, but they close at 9pm, or Curry Pundits in DTSJ.

What are some of your other favorite hangouts?

The “Bermuda Triangle”—Nomikai, 55 South, and Temple. The Cardiff Lounge in Campbell.

What advice would you give to DJs starting out in the San Jose scene?

Advice I would give is to be out there and be outside of the bedroom. Interact with those who are paving the way. I would love to help people. Create your own music and be original. People want to hear what is in your head and feel human again.