I wrote this bio ten years ago when MySpace first started:

It goes like this: when I was little I would sit on theglassed-in porch and listen to 45's of Beatles, The Dave Clark Five, Herman'sHermits, Allan Sherman and the Beach Boys on primitive Lafayette headphoneswith an inflatable headrest. Because Iwas five, I drew duck feet on some of these records, which I still own. They didn't know what autism was back thenbut my parents were pretty sure I had it; music was a repetitive behavior tothem.



My first record that was not a hand me down was Meet theBeatles; I pooled my allowance with my best friend Ian Hartman to get it. Later, Ian and I bought a couple Donovanrecords, and we carried on through the rest of the 1960's on the music of ourolder brothers and sisters. When JanisJoplin died, my sister caught me looking at a nude photo of her in RollingStone; she thought it was prurient; I just thought she looked pretty good for awoman who was so dissipated and sounded so pained.



Then came my Southern Rock Era. Allman Brothers, Marshall Tucker Band, ElvinBishop, anything on Capricorn; this, along with Doug Clark and the Hot Nuts,was what people listened to in the southeastern US. For everyone else (including my wife),Southern Rock was the musical equivalent of Alf or Mork and Mindy: impossiblycorny music from another planet, and era they best ignored. But in the South I discovered the GratefulDead AND The Clash, which remained a musical thread in my life for many years.



After I left the South, I worked in the nightclubbusiness. Ironically, I am here to tellyou: aside from a few DJ's like Jellybean or Frankie Knuckles, what they reallyplayed in the big clubs in the 80's was pop and warmed-over disco. I mean we are talking Lionel Richie andSting, the weakest, wimpiest tunes around. I put on a track date at Studio 54 with Nona Hendryx, Kurtis Blow, andMadonna. BUT, I also co-promoted thevery first big club performance by the Beastie Boys with my friend David Wallis(the owner rang the curtain down on them, muttering, "These guys are nevergoing ANYWHERE") and promoted Grace Jones in Martinique. At home, it was the Talking Heads, Iggy Pop,Lou Reed, Joy Division, and serious old school reggae, Trapper Zukie Man AhWarrior, puff'n stuff like that.



Then I came to California where music had no meaning. I played Wang Chung's "To Live and Diein LA" on the stereo to commemorate my arrival here, and started into punkworking Social Distortion's Prison Bound Tour. Schmucked around Restless Records. Dragged a series of girlfriends toDead shows.



I got into this sort of wimpy chick phase after meeting mywife--The Sundays, Happy Mondays, Beth Orton, Sarah Mclachlan, Bjork, I'm notproud of all of it. But it reinforced mysense of euphony that both colors my DJ sets and fosters lively familyarguments to this day. I looked at mywife's page and thought wow, this woman’s music tastes are really, reallycool. But of course I am wandering offin house music land, digging Ian Pooley, Ben Watt, Little Louie Vega, BrianTurner, Timo Maas, Junkie, Kaskade, Mark Farina and the Greenskeepers--all,well, producer and remixers with a sweet, harmonious sound. I thought I was going to be a trance DJ whenI started out but it was just too annoying to practice during the day.



What's on my wish list of music I am searching for? UlrichSchnaus; DJ Cam; Les Jardiniers; Mark Rae; K-os; MC Honky; Banzai Republic; DJShadow; James Hardaway; Sould Ascendants; Wolfgang Press...