1) Where Have You Been (Hardwell Remix)-Rihanna 

2) Starships (Krunks Ghetto Booty Bass Mix)-Nicki Minaj 

3) Girl Gone Wild (Dave Aude Dub)-Madonna 

4) Somebody That I Used To Love (J Farrell Remix)-Gotye 

5) Molly (Original Mix)-Cedric Gervais 

6) Levels (Baltimore Bounce Edit)-Avicii 

7) 212 (Extended Mix)-Azealia Banks 

8) Turn Up The Music (Chris James Edit)-Chris Brown 

9) Rumor Has It (Joe Maz Remix)-Adele 

10) Move Your Body (Benny Benassi Remix)-Marshall Jefferson 

Check out DJ Relentless for Dirty Mondays at Crews & Tangos on May 21st & May 28th. 

And here's a free download for your listening pleasure: 

DIRTY MONDAYS Sampler Mix

 

Almost every week I end up bitching about what a DJ has to go through while working.

There are all kinds of disc jockeys in the world. You have the Mobile DJ that handles weddings and bar mitzvahs. And then there’s the Radio DJ who is probably controlled by a set playlist. And then there is the type of DJ I consider myself to be....a Club DJ.

All DJ jobs are very difficult. You are attempting to please a room full of people with what you play. You have to make decisions on where to go with the music. Do you take the request for the song that is 15 to 20 BPM’s slower than where you are or do you continue with what has people on your floor already? What if you are asked to play a genre of music that you don’t know or understand? Or perhaps it’s a genre that you admittedly are opposed to? What are you supposed to do?

Well, the first thing I would like to say is....”The relationship between a DJ and his dancefloor is like a conversation.” You need both sides to have that conversation. You have to listen in order to have the conversation. Unfortunately, I believe that today’s audience is filled with what I call “The ME Generation”. They feel a major sense of entitlement. Each person is only concerned with what they want and no one else. Often the DJ is trying to have the conversation with the floor and these members of The ME Generation come up and try to control the conversation with their request. They think that if they request their song that they will make the DJ change the format and steer the conversation in their direction. 

Now...I know some DJ’s who allow this to happen all the time. There are some who actually only play requests. I guess it keeps them from having to think about their playlist. Or maybe they do it to win some imaginary popularity contest. Anyway...these are the DJ’s I call iPods. Whatever they are told to play, they do. 

My most common interaction with someone of The ME Generation is usually of two different camps here in Toronto. It’s the Popheads and the Caribean Connection. With the Popheads, they want everything played that they have listened to on the radio and their iPods all day. With the Caribean Connection, they think because I am a person of color that not only should I play Reggae and Soca, but that it is a given that those genres are a part of my playlist. 

When I first moved to Toronto, I wrote a blog about why I don’t like to play Reggae. I explained that I had a friend who was Jamaican and was murdered because he was a homosexual. Out of protest of his death and the police not even attempting to find his killer, I decided to remove Reggae from my playlist. I also found that the majority of the most popular Reggae artists recorded what is known as “Murder Music” which has lyrics about killing gay people. In order to remove Reggae from my playlist, I also had to remove Soca. Mainly because if you play Soca then your audience automatically assumes that you are gong to play Reggae.

Now...as a gay man, I just think that the politics behind “Muder Music” won’t allow me to support that genre. With that being said.....have I played Reggae and Soca on my floor since being in Toronto? Well, yes I have. I had to in order to keep my job. Do I own a lot of Reggae and Soca? Absolutely not.  I own some really commercial tracks that have crossed over or are remixed with that flavor. But to honestly say that I am a Reggae and Soca DJ I cannot. That would be like asking me to play Salsa and Merenge. I don’t even speak the language. Even though my heritage is of Puerto Rican, African-American and Caucasion I am an American through and through. My background in music actually ranges from R&B, Jazz, 70’s and 80’s Rock, Pop, Dance, House, Bitch Tracks and 80’s Alternative.

When I came out in Tampa, the nightlife scene was so small that you had a huge mix of gay people on one dancefloor. It was nothing to have leather men, twinks and drag queens dancing with each other. In fact, I believe it made for a better community because we all had to share the same dancefloor and watering hole. But nowadays, everything is segregated. And the history of the music and the sense of community is lost. And why shouldn’t it be? With music at your fingertips on your computer or phone, everything is disposable. We are bombarded with too much information. And that would probably explain why the art of mixing and programing your sets as a DJ is no longer required. 

There was a time when the DJ made a song a hit. Now, the DJ is just the tool for playing the song. No personality is needed. No real talent is needed. I started Dj-ing in the summer of 1980 with my uncle, Herbert King at WMNF 88.5. It was a Jazz and R&B show. My uncle didn’t mix, but he taught me the importance of programing. “What are you saying with your music?” “Do you believe in the song that you are playing?” “What does this song mean to you?” “Why are you playing this song?”  These were questions that he would ask to get me to think about what it really means to connect with your music. It wasn't until I took a trip to Chicago and heard mixing on the radio there that I decided to learn how to manipulate beats per minute to transition from song to song. I saved up for a pair of turntables from Radio Shack and a mixer (which I still have to this day....they don't make 'em like that anymore) and practiced in my bedroom everyday after school. 

So, when I am asked to play a genre of music that does not respresent me or has nothing to do with my musical background it is like asking me to have a conversation about a subject that I don’t know. I will only look stupid if I attempt it. So, I choose not to have that conversation. If I know a liitle about that subject, I will say what I know (as in I will play what I have), but I won’t go any further than that. But when customers start demanding a genre, it makes me not want to play it at all. Let me surprise you with what I do know. You might actually learn something about mixing and programing if you listen. 

Some of the best conversations I have had with my floor have been when I watched the room and figured out what it is needed to keep it going. A request is a great way to let the DJ know what you are feeling, but when it turns into 5 and 6 requests it seems like you do not respect your DJ or trust his judgement. It becomes a one-sided conversation and that never works. 

And I bet that the audience doesn’t realize that their presence on the floor is a vote on where the music is going to go. I believe that everyone should get served on my floor. That’s why I change the conversation every 20 minutes. I want it to remain interesting, especially if the format for the room is an open one. Remember, the DJ is not only playing for you. He has a entire room to worry about. And patience is a virtue. Leaving the floor because your song wasn’t next just says that you were not really serious about your request. And unless the theme of the event is a strict format of one genre, I am sure the DJ will get to your request as soon as he can. Provided that your request isn’t what we like to call a “Floor Killer”. Tracks like “The Macarena” or Kiddy Pop artists can kill your floor in an adult setting. When you have the trust of your audience, you are more likely to get away with anything you feel like playing. But until then, you really have to consider what that request is going to do to your floor. 

I guess the thing that strikes me funny and odd is that in New York City's top clubs where you spend almost $25 to $50 just to get in, you are not allowed to even get to the DJ. It is a given that you came to hear the musical journey that he has planned for you. And the measure of a good DJ is how his floor is doing. If he has a packed floor, then obviously he knows what he is doing. So, to come to Toronto and find that bar owners and promoters bend to customer requests seems ridiculous at times. How is the DJ supposed to show you their skills if they are bombarded with requests all evening? A good DJ can read his floor and make the decision to go in another direction with the music if needed. Which goes back to my change of conversation every 20 minutes. The rooms I have played for here in Toronto have been very open in formats. It would be different if it was a theme to the room that I was playing for. then I could concentrate on a specific genre and style. 

So, a balance had to be made. I came up with a system of a request sheet. It allows the audience to communicate with the DJ without disturbing him while he is trying to mix or find his next track. Unfortunately, most of the people have been drinking and do not grasp the concept of writing it down and leaving it at that. They want to write it down and then ask you for the song verbally while trying to hand you the request sheet to make sure you see what they wrote. Or they think by writing their request really big that it will make you play their song quicker. It can be very frustrating when people are not polite enough to leave room and spaces for others to make their requests. The ME Generation just doesn't care. 

So, I hope by writing this blog I have given you a different perspective about what requests are and what they mean in the big scheme of the night. Don’t forget that the DJ has a job to do that is more than just pressing “play”.

Bob Leahy: Hi Alphonso. Thank you for talking to PositiveLite.com.  You’re no stranger of course, because you have your own column on our site  but I’m really liking the chance to ask you a few questions and get to know you better.  You really are an interesting person, with more than one story to tell. Right now for instance you have your music career as DJ Relentless and as a recording artist, your drag career as Jade Elektra and then, of course you happen to be HIV-positive and entirely out about that. I guess that prompts me to ask you - Why out?  Wouldn’t it be easier to keep quiet?

Alphonso: Actually I have been officially out about my HIV status since 2009. I mean...I have always been out to my closest friends and family, but in 2009 I didn't want to be a hypocrite after hearing about Ongina coming out about her status. I just felt that everyone should be honest about being positive.

Bob: But you don’t make a big thing out of it.  For example, in your column for PositiveLite.com it’s only mentioned in passing. Is that a conscious thing or is HIV not really a big part of your life anymore?

Alphonso: HIV is a big part of my life, but I don't let it rule my life. I have been positive for 23 years.

Bob: OK. Let’s get back to that HIV aspect in a minute.  Tell me about your background. You weren’t born in Canada were you?

Alphonso: No, I was born and raised in Tampa, Florida.

Bob: So how did you end up in Toronto?

Alphonso: Well, my husband is from Toronto. We got married on April 30th, 2010. Our 2nd anniversary is almost here. At the time when we got married gay marriage had not been passed in New York. And I had been in New York City for 17 years at that time and I wanted to be with my husband. He wasn't going to move to the States. So, here I am....in love and happy.

Bob: Good! Let’s talk about drag. Tell me why you wanted to do drag in the first place. And was it hard to break in to the business?

Alphonso: Believe it or not, I never really wanted to do drag. I was entering a weekly talent show at a bar called Rene's doing impersonations of Michael Jackson & Prince. Huh....come to think of it, I was just a hop and step away from drag with those two. Anyway...I got tired of being beat by drag queens in the competition and decided that I couldn't do any worse than I was already doing. I wrote about it in my last blog. As far as it being difficult or hard to break into the business...no, it was a different time. This was 1985. Long before the internet and YouTube. In a way it forced you to work hard at being original and forced you to look to your elders for guidance.

Bob: Is there much infighting or do you gyrls all get along?

Alphonso: Child, I am too old be fighting with these young gyrls out on the scene now. The great thing about getting older is realizing what's important and what's not. The things that these kids are doing today are all old hash. They don't know or care about what the future holds. So, how do you fight someone who is blind?

Bob: Alphonso, you aren’t  too keen on what RuPaul and his Drag Race  have done for the business, are you?

Alphonso: In my opinion, RuPaul's Drag Race has lowered the art of female impersonation to the lowest common denominator. The show does not give an accurate look into what it takes to be a drag performer. All it shows is rewards for bad behavior and bad attitudes. And if folks knew all the stuff that goes on in the background with the producers of the show, they'd turn it off. And RuPaul should be ashamed of exploiting these gyrls to keep herself in the spotlight.

Bob. I see. Now you’re a big proponent of singing rather than lip syncing, aren’t you? Is this something every gyrl should strive for?

Alphonso: Not everyone can sing. And there's nothing wrong with laying a lip to song...especially if you do it well. I mean, lip syncing some Pop song that repeats itself over and over ain't talent. Do something with a monologue. That's talent. I lip sync too, but when I do it's a great song with character.

Bob: Alphonso, you said in one of your recent articles for us that “I always enjoyed at the end of the show taking all that stuff off and being Alphonso King Jr.”  Are you more comfortable being Alphonso than Jade Elektra?

Alphonso: You know, I know a lot of queens who do drag because they are not happy with themselves as a man. Maybe they get more attention as a gyrl. Maybe they feel sexier or more attractive as a female. I have always loved being myself. I like doing drag and performing, but I love wearing a pair of jeans and a T-shirt with a Yankees baseball hat.

Bob: You said too “The drag world still fascinates me. What motivates a man to put on a dress and act like a woman?” So I’m going to ask you just that. What DOES motivate a man to put on a dress and act like a woman?

Alphonso: Some folks get uncomfortable when I talk about this, but I'm gonna say anyway. I was molested as a child by an uncle and even though it was a terrible thing to go through a part of me enjoyed acting like a gyrl for me. He recognized that I was gay when I was 7. He exploited it, but I think part of me healing was accepting the fact that I have a feminine side and that's okay. I use that side of me to create this woman for the stage.

Bob: But is it a blown-up version of a woman?

Alphonso: I am not like other drag queens. My mannerisms and even physical body transform. In my mind, I am not larger than life. I am a small, demure lady. I become the woman that I would like to see on the street.

Bob: You’ve also made a career as a DJ.  Do the drag and the DJ-ing ever overlap or are these always two distinct gigs?

Alphonso: I rarely DJ in drag. Mainly because most establishments won't pay me to do both. I'm not opposed to it, but I have built a reputation as DJ Relentless and I don't feel that I need to DJ in drag. To me that's just a gimmick to get a gig. I want to DJ gig for my talent, not for what I look like. Which also goes for the new breed of gym-queen DJ's. I'm not DJ-ing with my shirt off either.

Bob: You probably hate this kind of question, but what gives you the biggest high – doing drag or DJ-ing?

Alphonso: They are very different. The rush of being on stage and having everyone's attention is very different than controlling a roomful of people with what music you play. Both are exciting and rewarding.

Bob: Can you make a career of being a DJ in Canada or do you have to move somewhere else to really make it happen?

Alphonso: I am already making a career as DJ in Canada. I had already spun in Canada a few times before moving here. In fact, I have travelled to London, Athens and Amsterdam. So, I am sure I could have a DJ career anywhere. Even though technology can practically make anyone into a DJ, nothing can replace experience and music knowledge. You can download any song you want, but if you don't know the history of the song you might as well be an iPod.

Bob: Now of course you have a musical career in your own right.  Do you want to talk about that and where you would like to see it go?

Alphonso: Well, if you check iTunes you can find Jade Elektra and DJ Relentless. I have been a vocalist and also a producer. Jade was originally known as a Bitch Track artist with tracks like "Bitch You Look Fierce" and "How Do I Look?", but when the Proud Mary album was released she showed her vocal chops. And as DJ Relentless I have done back-up vocals and produced house tracks like "House Is Alive" with the UK's Loop Da Funk.

Bob: Your musical idols are?

Alphonso: Billie Holiday, George Benson, Dinah Washington, Al Green, Tina Turner and Al Jarreau.

Bob: OK, now I want to go back to the HIV thing.  I don’t think you’ve ever talked to us about how and when you were diagnosed.   Do you want to fill us in?

Alphonso: I was diagnosed in 1990, but became positive in 1989. A condom broke and that was that. I knew the guy. We were dating and he had no idea he was positive. I remember telling him and him completely falling apart. After about 6 months after being told the news, I accepted it. There was nothing I could do to change it. And I guess it was my destiny. You see, if I had not found out I might have stayed in Tampa and lived a completely different life. My diagnosis prompted me to get up and do the things I always wanted to do. Which is how I ended up in New York City in 1992. My movie, television and music career as Jade would have never happened. My DJ name of "Relentless" would not have been given to me by a customer at The Works on the upper east side.

Bob: Did you deal with it well when you got the news you were positive, or not?

Alphonso: Believe it or not, I assumed I was going to die. So, I planned to take out a huge loan and do all the things I had dreamed of. But after a few months, I woke up and thought "You'll probably borrow all this money and end up healthy and in debt." So, I decided to work towards my goals instead.

Bob: So has being HIV-positive complicated your career at all, either in the drag world or the music world?

Alphonso: Not really. Being positive has had nothing to do with my work. I have been pretty healthy except for my diabetes. That's probably been more of a problem than my HIV. My status has probably caused more problems in my dating life. Deciding when to disclose was a problem at first and then I just started telling on the first date to avoid wasting theirs and my time.

Bob: Are there many poz drag performers who are out?   I’m guessing quite a few of them are not talking, right?

Alphonso: I am sure there are more than most people think, but not everyone is out about their status. I know a few, but unfortunately not everyone handles the news well. So, many choose not to tell their families and with the fear of being rejected they choose not to tell boyfriends or casual partners.

Bob: How have advances in HIV treatment affected you personally.  I’m going to guess that you are on treatment with an undetectable viral load.  Am I right?

Alphonso: When I was first diagnosed, AZT was the only treatment. I watched a lot of my friends die on that stuff. So, I refused to take it. It wasn't until 2005 that I started treatment and have been undetectable ever since.

Bob: What would your message be for someone who is newly diagnosed – and worried about just about everything?

Alphonso: It's funny that you should ask. A drag friend of mine just got diagnosed and I told her something very important. Don't do anything that you don't want to do. If you don't feel like you need to be on the meds or that you are not ready yet don't start. Find out as much as you can about what you are about to take. Don't take your doctor's word for everything. And learn to be honest with yourself. Learn to forgive yourself. And most of all...stay stress free.

Bob: Excellent advice. One more question.  Sorry if it sounds a bit Miss America-ish.  Everybody has a dream.  What’s yours?

Alphonso: I dream of leaving my mark. I hope that my life and experiences can be used to teach someone in the future to live their lives to the fullest.

Bob: Alphonso, you’ve been a great sport. I hope we didn’t intrude too much.  Thank you so much for talking to us like this and we look forward to hearing more of your story as it unfolds on our site.

Alphonso King Jr writes as DJ Relentless on his PosiitiveLite.com blog. Find him to on his own website www.djrelentless.com. 

Post script from Alphonso . . .

I thought I should share some of my material and performances with you. I recorded a live album at Statler's last summer. I'm still working on it being remastered and working out the distribution part. There are a couple of clips from that show.

http://www.youtube.com/watch?v=OSEZZQ4XSFs

http://www.youtube.com/watch?v=DBSw0vn9ffM

http://www.youtube.com/watch?v=l7pzOI-KsLA

http://www.youtube.com/watch?v=R1tnmxwtOvU

http://www.youtube.com/watch?v=PQpWc6QLRwQ

http://www.youtube.com/watch?v=UYRepLl6n9A

http://www.youtube.com/watch?v=Wf0OsmHJoSg

http://www.youtube.com/watch?v=JvJABcOc8zk

THIS IS A CLIP FROM MY GAME SHOW featuring my other character, PAPRIKA JONES http://www.youtube.com/watch?v=tQLZ_O_pZks

THIS IS THE PILOT FOR MY TV SHOW Called "SHOWGIRL 101" (filmed before Drag Race even started) http://www.youtube.com/watch?v=AiVFMtpxDKM&feature=related

THIS IS A CLIP FROM THE WEEKLY VARIETY SHOW I USED TO DO at CREWS & TANGOS http://www.youtube.com/watch?v=aeGrT7h3PdQ

You should google me. I've done movies, television and traveled the world. I had a weekly variety show at Crews & Tangos (Toronto) but  I had a crappy time slot (7 PM to 9 PM on Saturdays). It was very difficult to get people to come out that early so they cancelled it. I keep hoping to find another spot to do the show. It was a lot of fun. I featured all types of entertainment. I had live singers, comedians and of course female impersonators.

Plus, I wrote and recorded a song for AIDS awareness called "H-I-Vogue".

So, there's a lot more to my story (as you can see). I have opened for Cyndi Lauper. I performed with Beyonce at the Roxy in NYC. I am currently one of the resident DJ's at Crews & Tangos (Mondays, Wednesdays & Fridays). "DIrty Mondays" "Night Skool Wednesdays" and "CLUB LITE Fridays".

(Editor's note: Here's an interview with FAB.)

I chuckled because it was this kinda cheesy track tailored after Duck Sauce’s “Barbra Streisand”. I bet they had no idea that a couple months later she would no longer be with us. Ironically, just as when the announcement came that Michael Jackson had died, I was in the studio working on music. It sorta knocked the wind out of me. I mean....I know it’s all over the news and the internet, but it just didn’t seem real.

Jon Stewart of The Daily Show ripped CNN a new one for sending a reporter on the streets to get reactions to the news of Whitney’s death. Over in the UK, iTunes raised the prices of of her music a few hours after her death. But the most surprising thing I saw was Wendy Williams’ segment on her show where she broke down and said after that moment she was not gonna say another word about Whitney’s passing. Okay....I have always dismissed Wendy as a gossiping mouth piece of daytime television, but my respect for her went up ten fold after watching her on YouTube.

And of course the jokes about Whitney started within the hour of the announcement. Even though I knew they would be coming and be very vile, I still wasn’t prepared for some of the ones that popped up on facebook.

But as the week went on, it seemed to get worse. And then came the day of the funeral. Aretha Franklin doesn’t show up and gave an excuse of leg spasms when the real reason was that she had fought with Cissy Houston about an interview she gave to Al Roker in NYC where she blamed the parents of drug users. The sad thing was instead she did her concert that night at Radio City Hall where she watered down her tribute to Whitney by adding tributes to Nick Ashford and Don Cornelius. You know...the more I learn about Ms. Franklin the less I like her as a person. Whitney’s aunt, Dionne Warwick threw some shade at “The Queen Of Soul” by introducing her at the funeral only to point out that she wasn’t there. And then there was the mess with Bobby Brown showing up with nine people to the funeral when there was very limited seating. He eventually had to leave after being asked to moved his group several times as the ushers tried to accomodate his tribe.

I think the most beautiful tribute was by Kevin Costner. His recollection of his time on the set of “The Bodyguard” with Whitney left me feeling that there was so much about her that we didn’t know. In his story her vunerability and doubt made her more human than I had ever noticed before.

All I can say is....we just finished Black History Month and in that month we’ve lost Etta James, Don Cornelius and now Whitney. I almost feel like our heritage and history is slipping right through our hands. An end of an era is upon us.

And while one diva leaves us, another is making the biggest mistake of her life. Of course, I am speaking of Rihanna. What on earth is she thinking? Any kind of relationship with Chris Brown should have never even entered her mind. The message she is sending to young girls is so wrong! Rihanna has recorded a remix of her track “Birthday Cake” featuring Chris. The explicit lyrics are leading us to believe that they are bumpin' uglies. Measnwhile she makes a guest appearance on the remix of his new single, “Turn Up The Music”.

I predicted when he was originally arrested that it wouldn’t be long before he was back on the charts and all would be forgotten. But somehow I could have never predicted the fallout of this reunion. Some are saying that they are a couple again. I have heard jokes about Rihanna not being able to stay away from his huge talent. While there are all kinds of stories about him having gay sex with a songwriter named Martyn. And now there’s reports that Chris stole a female fan’s phone after she took a photo of him getting into his car. I predict that Chris Brown is going to implode. His bad temper and attitude is going to do him in. Plus I would say that he is in the same place where O.J. Simpson was. Everyone is watching and the law is waiting to put him behind bars. He is stupid for even going anywhere near Rihanna. And she must be too to think that young girls tweeting “Chris Brown could beat me any day” is a good thing.

Another big mistake over the past couple of weeks was Nicki Minaj’s Grammy performance. At first when she arrived at the event, I thought she was Lady GaGa. She was dressed in a red cloaked dress and on the arm of a Pope look-a-like. And then came the horendous exorcism of a performance. Her speedy delivery of lyrics and manic vocal attempts left everyone scratching their heads and wondering what just happened. But surprisingly requests for her new single, “Starships” started pouring in on my dancefloor. Honestly....I don’t get it! I think the song sucks. It sucks even more than her really annoying “Stupid Hoe”.

But the tracks that are really working me right now are the Jumpsmokers Remix of Jessie J’s “Domino” and the dBerrie Remix of Beyonce’s “End Of Time”. Great energy and deep grooves! Love it!

However, the verdict is still out on X-Factor’s Melanie Amaro’s cover of Aretha Franklin’s classic “Respect”. I’m not sure why Simon would have her do a cover of that song. There’s some songs that you just don’t touch. I didn’t care for Reba McEntire’s version back in the late 80’s. And even though Aretha’s version is a cover of Otis Redding’s original, she made the song her own. No one has done that since.

And I was really upset to find out that Nicole Scherzinger is being replaced on X-Factor. I mean...c’mon Simon! It was nice to see someone actually stand up to you and tell you their thoughts. He never respected her from the beginning. He wanted Cheryl Cole to make an impact on American TV, but they didn’t see huh. So, now there’s talk that Janet Jackson and Britney Spears are being courted to fill Nicole and Paula’s seats.

 Meanwhile check out this free download from DJ Relentless

Well, it’s hard to believe another year has come and gone. 2011 was quite a year. From the ridiculous candidates for the next presidential election in the States to the State of New York passing Gay Marriage. It was definitely a year that kept you on your toes. Just when you thought you had heard it all, someone would say something that just made you wanna clutch the pearls.

First I would like to pay my respects to those who passed on this year. Of course, there were many who left us, but these are the people who stuck out in my mind. Elizabeth Taylor, Amy Winehouse, Patrice O’Neal, Heavy D, Andrea True, Joe Fraizer, Andy Rooney, Steve Jobs, Jack Layton, Bubba Smith, Betty Ford, Clarence Clemons, Jeff Conaway, Gil Scot Heron, Randy Savage, Loleatta Holloway, Nick Ashford, Jane Russell, and Michael Gough. But there were some deaths this year that effected me more than any of these well known people....I’m talking about the many gay suicides that were caused by bullying and humiliation. Names like Jamie Hubley, Tyler Clementi and Jamey Rodemeyer made headlines and brought the “It Gets Better” Campaign to the mainstream.

On the entertainment front, my annoyance with Lady Gaga rose and fell a couple of times this year. From all the twinks who whined their requests for her music to me at my booth when they probably just listened to the damn songs on their way to the club to the many images and ideas she stole from artists like Grace Jones and Bette Midler. Her Thanksgiving special was a joke and a waste of air time. I must say that I was impressed with her meeting with President Obama and talking with him about anti-bullying legislation. But I was dissappointed with her fans bad mouthing Adele because she was nominated for Artist Of The Year for the upcoming Grammy’s.

And it also occured to me why Beyonce has succeeded. She sings her lyrics instead of rapping them. Think about it.....only she can cram a bunch of words in one phrase and still make it work.

My love affair with under-rated R&B vocalist, Ledisi really blossomed this year when I found out that she had done a cover of one of my favorite songs by Maze & Frankie Beverly....”Happy Feelings”.  After being crowned twice this year as Jade Elekra performing her live version of “Take Time”, she has become my Artist Of The Year.

Speaking of Ms. Elektra....I got an interesting message from the head of AIDS Action Now that said that their organization could not use my “H-I-Vogue” track as a fundraiser because the lyrics were too stigmatizing. Just because I said that “Those A4A profiles can be murderous”. Then about a month later I noticed a photo on facebook of one of their posters that read “I Party, I Bareback, I'm Positive, I'm Responsible”. No wonder so many people are afraid of HIV positive people. With campaigns that sound like we are going out to purposely bareback with negative people, getting folks to understand why HIV postive people don’t disclose is gonna be moot.

It’s a shame that we lost Mr. Steve Roseland this year. He was the manager of George’s Play but died suddenly. I’m sure that he would have made more use of me being crowned Miss Play 2011. But I hope that my most recent crown of Miss Toronto Continental Elite will prove to be more exposure for Jade Elektra.

Another unbelieveable set of events were the fake death tweets on twitter. Bill Cosby, Jon Bon Jovi, Eddie Murphy, Nelson Mandela, Ruby Dee, Daddy Yankee, and even President Obama (assasinated on the 4th of July) according to twitter at various times this past year. I have seriously considered killing off Paprika Jones to see if anyone would notice on the internet.

The political climate has really drawn out the worst characters this election season in the US. I’m just glad that Sarah Palin is out of the picture. But Newt Gingrich....c’mon! Is this the best that the republican party can do? That damn Tea Party really divided the country and even it’s own base. Now we have Republicans hating on each other because some are mormons. And I never took Herman Cain seriously from the start. That loud mouth had no idea about how to run a country....I mean, PLEASE! The republicans better recognize that Mit Romney is there only choice to run against Obama. And if he wants to pull in some big names, he should ask Anderson Cooper, Susan Lucci, Alice Cooper, Chaka Khan, James Earl Jones, Charles Barkley, Adam Sandler, Janet Jackson or Britney Spears to endorse his campaign. It’s so funny how money shapes what political party you are in.

And speaking of money....I really wish that everyone would just stop watching the Kardashians. They have enough money. Especially since Kim got paid $600,000 to just show up at a New Year’s Eve party in Las Vegas. Is everyone that obsessed with being rich that they are willing to continue to make these assholes richer by watching every report and reality show? The “Housewives of...” franchise is counting on it! These shows are just pathetic! I totally get watching American Idol, The Voice, or X-Factor because most people have dreams of being performers. But all these other reality shows are just a joke.

2011 did bring me some great opportunities. I visited my hometown after almost a decade. I worked with such talents as DJ Fierce Tease, Vjuan Allure, DJ San Fran, Cesar Murillo, Adam Law, Bryan Greenwood, Jennifer Walls, Ryan G. Hinds, Harmonica Sunbeam, Jesse Volt, Corey Wesley, Marcy Rogers, Donavon LeNabat, Jamie Bird, Brandon Bent, Rene Bogovic, Amanda Jean Mountford, Adrien Clarke, ILL Na Na DiverseCity Dance Company and Brian Finch. Plus I also finally got an album posted on iTunes.

So, now that 2012 is here I am looking forward to continuing my work on Jade Elektra’s live album and next dance singles. I look forward to branding DJ Relentless in the Canadian nightlife. And most of all I am looking forward to spending another wonderful year with the man I love....John Richard Allan.

Back in August right before my birthday, I posted a blog in my facebook notes called “The MTV Generation: Disposable Lives” where I wrote how MTV changed the face of television and contributed to the short attention span of today’s youth. I spoke of how disgusted I was with an inappropriate comment about 30 soldiers who had given their lives in Afghanistan and how we watch the news of world events differently because of the music video. I couldn’t believe that the channel that brought me so much joy when it first broadcast back in 1981 had evolved into a source of bad teenaged Reality TV.

After reading the blog a couple of months later, I decided that I wanted to reminisce about those first few years when MTV was the world to me. I was introduced to so many new artists and visions. It shaped who I am as a DJ and as a performer. Although I don’t like what it has become today, I still love the original concept of Music Television 24 hours a day.

So I decided to sit down and put together a tribute mix. But not just any retro mixed set....I wanted to give it an updated feel so that listeners in club-land today could understand it and possibly feel the excitement of what these recording artists did to pave the way for some of the popular chart toppers today.

The very first video to air on MTV was “Video Killed The Radio Star” by The Bugles. So, I chose the Living Electro Remix to get the mix off to a great energetic start. This song totally told viewers exactly what was going to happen to radio. Nothing would be the same.

One of the biggest bands to use the video format was Duran Duran and their video for “Rio” took you on a journey in search of the perfect woman. Although everyone was crazy for Simon LeBon, I actually preferred Andy Taylor. Erek McQueen did a fantastic job with his “Dancing On The Sand” remix.

Now when I think of the 80’s, I can’t help but think of that very unusual, corky girl with the bad posture. I’m talking about Cyndi Lauper. Her video for “Girls Just Wanna Have Fun” became an anthem and 'til this day will still pack a floor on a Friday night. The Hy2rogen Bootleg Mix is sure to keep the party going.

Michael Jackson is credited for breaking the color barrier on MTV. Although he had solo music videos (and a few with his brothers as the Jacksons) before MTV, “Billie Jean” was a monster hit. And I can remember waiting hours for it to be shown again. They probably played it at least 3 times each evening between 5 PM and midnight. Today kids don’t know what it is to wait to see a music video. With the internet at our fingertips, you can watch whatever you want, whenever you want. Songs and artists were appreciated more when they weren’t as accessible. The Lookas Peace Mix gives the song an electro makeover.

I know that Madonna’s performance of “Like A Virgin” at the first MTV Awards show was considered legendarily shocking, but her first concert music video was “Dress You Up”. I actually got to see that tour. The Beastie Boys opened for her. I had a horrible seat because it was off to the side, but I got to see her topless while she was changing because the curtain to her little dressing room got pulled down in haste between sets. With her new album in the works at the moment, many DJ’s and producers are digging up her classic tracks and remixing them. In this case, Liam Keegan has transformed this 80’s production into a new club anthem.

MTV also spawned a new culture in teen films. So, I had to use “Don’t You Forget About Me” by Simple Minds from John Hughes’ “The Breakfast Club”. The angst in the lyrics seemed to speak to all the kids who felt different or out of place. Ironically, the Jakob Carrison Remix does not actually use any of the lyrics, but that familiar wale is very prominent.

Coming from a 70’s R&B background, MTV introduced me to commercial rockers like John Cougar. “Jack & Diane” was a little ditty that you couldn’t escape back in the 80’s. I was pleasantly surprised by the Gomi & DJ Escape Mix. Great production and the pitch control and time stretch on the vocals is magnificent.

In my opinion there were three main players in the music industry in the 80’s...Madonna,, Michael Jackson and  Rogers Nelson, best known as Prince. “Purple Rain” was basically a long form music video. And the first single, “When Doves Cry” was the driving force behind the sales for the soundtrack. Eddie Thoneick did an excellent job at reinventing the wheel with his remix.

I was disappointed that there were no new remixes of “Change” by Tears For Fears. That was truly one of my favourites by them. So I settled for Hardwell’s Black Shout Mix of “Shout” which gives this song a Big Room edge.

One of the more colourful characters of the 80’s was Boy George. And even though he was a complete ass to me at the opening that featured paintings of him and myself as my alter-ego, Jade Elektra by Olan Montgomery, no tribute to MTV would be complete without a Culture Club song. Because of its very different choice of instruments and production, “Church Of The Poison Mind” was always a nightmare to program and mix back in its day (at least it was for me). The Budgie Man Electro Mix gave me another opportunity to use this track.

One of the rare video clips on MTV was Soft Cell’s “Tainted Love”. I think I caught it only a couple of times. Perhaps Marc Almond’s unapologetic homosexuality was not welcomed in prime time back then. I recalled seeing the video really late at night. The Club 69 Future Mix solved the high BPM problem of the original. Peter Rauhofer has had some amazing ideas over the years.

Another gender-bending icon from the MTV 80’s was Annie Lennox. I honestly remember being blown away by Eurythmics videos. Secretly I always wanted Annie to record with Grace Jones. That truly would have been a mind fuck for the gender roles. Imagine if they had kissed like Madonna and Britney. Wow! But I digress. “Sweet Dreams” seemed like a perfect choice for this mixed set. And Steve Angello’s Bootleg Mix is definitely a Hard Floor classic!

Even though I did see Pete Burns before I saw Boy George, he never quite pulled the androgynous look off as well. Dead Or Alive’s cover of K.C. & The Sunshine Band’s “That’s The Way I Like It” was pretty good, but “You Spin Me Round” helped usher in that Stock, Aitken & Waterman sound.  The Matt & Vitto Promo Only Remix gives us a moody synth production that breathes new life into the track.

To close out my mix, I chose another classic alternative group....The Cure in “Without You, I’m Nothing”, Sandra Bernhard gives a perfect example of that black eye-linered, tortured ambivalence that the cutting edge teenager felt while setting up her version of “The Beat Goes On”. The Milk Mix of “Let’s Go To Bed” seems to put a period on my sentence. Remembering standing in a club called “Masquerade” back in Tampa, Florida and thinking...”Yeah, I could just fuck anyone. It won’t matter. I’m not going anywhere anyway.” Boy...was I so wrong. I actually thought that scene was the end all. It didn’t get any better than that. Thank God I actually got out of Tampa and changed my life with my relocation to New York City. I guess they are right....it does get better!

Enjoy the mix! Here it is.