http://www.cooljunkie.com/interviews/semi_staccato_an_interview_with_louisahhh_673575.html

Hey! How was your new years eve?

Ha, hi! My New Years Eve was…humbling. Kicked off '09 by spinning a private event. The guests kept requesting Top 40 Hip Hop, which isn't really 'what I do'. It's important for me to remember that this is a service industry, though, and to be able to compromise with a crowd. After that I somehow ended up at an amazing loft party where half of the people were just obliterated on drugs and alcohol, and the other half were totally clean and sober. This seemed to make no difference in the level of enthusiasm and insanity that was being exhibited, everyone was raging equally hard (in a good way).

Which DJ/Electronic Act first caught your ear in a major and inspiring way? Who (or which band) really blew your mind when growing up?

Ah, this is kind of an embarrassing answer to a great question…I kind of want to lie to seem 'cool', but I seriously owe everything to the bands and artists that taught me to love music and the craft of DJing. Growing up, my favorite band was Garbage. That obsession opened the door to past masters like the Pretenders, Siouxsie and the Banshees, Patti Smith…a lot of strong female role models. In terms of dance music and DJing, Josh Wink, Green Velvet, Tiga, Felix da Housecat, Mylo, Soulwax and Jacques Lu Cont were my first heroes.

Who is your favorite artist/band/musician/DJ now?

Currently, I'm very excited by what a lot of my peers are doing…Acid Girls and Graveleaf (Thee Mike B's project), with whom Staccato throw a monthly party called Major, are both making really interesting stuff. Also DFA is just KILLING IT right now with Holy Ghost, The Juan Maclean, Syclops. It's funny…Alex and Nick of Holy Ghost, Luca Drop the Lime and I all went to the same school in New York City. It didn't seem like it at the time, but apparently it was a genius factory, ha!
In terms of what I'm actually spinning at the moment, Gina Turner and I (Staccato) are obsessed with SIS. The Afro-/Latin-influenced percussion, the more organic quality this lends to minimal techno and house seems to be infectious, really feels good on the dance floor. Similarly, Style of Eye, Zoo Brazil, Radio Slave, Jona and Popof seem to be working along these lines. Essentially, anything coming out on Get Physical, Systematic or Ghostly is truly excellent.

In your bio it says that you began expressing yourself musically with "real instruments." Which ones do you play? What are the major differences for you between natural instruments and Electronic equipment as far as being able to express yourself? Do you feel the same connection to music through both mediums?

I took piano lessons starting at age seven for almost a decade, and started playing guitar when I was 14. I also studied quite a bit of music theory in college. This education was essential in developing an ear for rhythm and tonality in DJing, made it a kind of non-issue. Similarly, this was very important in instilling an idea of form and structure into the music I make and the sets I play.
While a lot of the emotion surrounding these two mediums is similar and the joy I feel while DJing and playing an instrument is the same (one of the reasons I love working as part of Staccato so much is that it feels like a band, I get to vibe off of my counterpart), it feels like working with recorded music, appropriating it, using it to educate and elevate…this takes some of the pressure off and cures the self conscious stage-fright I feel when playing an instrument in front of others. I also find the intellectual process is a lot more complex as a DJ – it has to be, in order to keep things interesting and challenging!

When did you start playing music?

As said, a formal musical education has been part of my life from a young age…My dad is in the music business and is a true lover and connoisseur of all kinds of sound. It has been a point of connection for us since I can remember. Music has always been an integral part of life, a means of expression and relation.

Do you remember your first gig? What was it like?

It was absolutely retarded. It took place at Bar 11 (now the Annex in New York City) with my friend Nico, playing songs to our pack of dancing comrades. A lot of what we did was in terrible taste, I know "Magic Dance" (Bowie and the muppets) and "Wannabe" (Spice Girls) were both played at some point in the night. I remember that it was addictive, infectious, super fun.

What would you consider to be your "Break" to get into the business?

Rehab. Seriously. Not so much in 'the business' as in 'life'.

What would you be doing if you weren't a musician?

Taming unicorns. It's actually my side-project.

What does your mom think of what your music career?

When I said 'rehab', I wasn't kidding – I have been clean and sober since 2006 and when that first happened (via intervention), my mom was violently opposed to me working in nightlife. Since then, however, she's become more open to the idea, and proud, I think – I hope. I record sets for her to work out to, she likes that.

What kind of emotions are you trying to share/inspire with/in the audience when you are putting together a set list for the night?

I think Stephen Bush put it best when he instructed me to 'kill them softly and bring them back to life'. Generally, I try and put the music first, to do it justice. It is about being a channel for the love and joy I feel from this music, not about playing god; the Art, not the Artist.

Do you put together a different set list for every performance or do you choose a few standards and tour them around?

In order to keep things fresh and because there is a constant stream of new music, there is a different set for every performance. I think a big part of DJing is working spontaneously with the crowd, and while everyone has a few 'back pocket' surefire dance floor slayers, I definitely attempt to continuously try new things. Keeps it magical.

Your sound has been defined as 'Minimax Acid Disco House' (according to your bio) How do you describe your sound? What musical elements do you tend to lean towards when spinning Solo?

While Staccato has a pretty consistent sound/feel, I think I tend to be a little more diverse when I work alone. 'Minimax' refers to the fact that my sound (and that of Staccato) incorporates equal parts big room house and minimal techno. The 'Acid Disco House' is pretty self explanatory. The emphasis changes depending on the gig, or what I'm personally excited about, musically, but those elements seem to be good adjectives for describing what I do.

Your bio also mentions you have intention on producing more original tracks. What is your creative process like? Do you ever play any natural instruments in your original compositions?

Right now, all of the writing and composing we're doing is digital, though I really admire the work of contemporary 'electronic' artists who use organic sounds (immediately Holy Ghost comes to mind). It makes a huge difference. Alas, based on time and space and funds at the moment, we're working with what we have. It's been interesting and challenging learning to make music with computers because the process is so vastly different then writing with, say, a guitar. It's good though, employs new and different thinking.

Let's talk about Staccato. How'd you meet Gina? How did you start working together?

Gina and I met on my birthday in 2007. I was still in rehab. We played a gig together and the last song I played, she had already cued up as her first track (it was the Thin White Duke remix of "What Else is There"). Subsequently, we threw an weekly party together (it was awful) and eventually started working at Turntable Lab together. When Staccato was born, accidentally, Axwell was playing and it rained glitter and balloons. True story.

Why did you choose Staccato as a project name?

In our work as a duo, we try to appropriate classical forms and structures in both our sets and our original compositions. Staccato is a musical term meaning 'detatched' or 'separate'. It's a bit ironic, as we are, duh, a duo, but working as a single entity.

Are you and Gina friends outside of your musical collaboration?

All of my friends besides Gina are weird dudes. Most of them are DJs. Gina and I are totally frat boys when we get together, we chest bump and shout and punch, it's uncontrollable and retarded. We've hugged maybe once. That said, we balance each other in a kind of magical way, both in terms of musical taste and personal temperment. It is also nice to have someone to get manicures with and gossip to. I am so grateful to have her as my partner.

How would you define Staccato's Sound?

Futuristic Sound Futuristic Sounds Futuristic Sounds

Musically/performance wise, how is Staccato Different from your Solo Stuff?

I tend to get alternately darker and harder OR bouncey disco when I play alone…There is a lot more flexibility based on where I'm at personally when I play. Staccato is pretty consistent, musically – the sonic evolution is a lot slower and less bi-polar. Because there are two of us, technically we can get a lot more complex then either of us does solo, ride mixes for a lot longer, pay more attention to EQs and effects.

In Staccato, are there defined roles (musically, promotion wise etc) in the group between you and Gina?

Gina is the aggressive managerial type, she deals with bookings and handles our relationships with promoters. I am more laid back when it comes to the business side of things. Musically, she plays along housier lines while I tend to get a bit darker and more techy. We both sing along.

Do you do have any pre-show rituals? Ask anything crazy on you Rider Requests?

Before playing, I try and remember to ask the universe to allow me to be a channel of its noise, and to be able to communicate the love and gratitude I feel for being able to do this job to the audience. Otherwise, the rider consists of bottled water to quench my addiction to Crystal Lite.

What are you excited about for 2009? Anything in the works for Staccato or Louisahhh!!!??

We have some pretty exciting gigs coming up in the beginning of this year! I think we're going to be at Avalon in LA with Drop the Lime on January 9th, then I have a mini solo East Coast tour. We are holding Major in San Francisco at the end of the month and February should bring us back to Monterrey, Mexico. At some point we are going to be working in the studio, hopefully. Stay tuned!

If you could play anywhere for anyone where would it be and who would it be to?

Every time our friends (and strangers) show up for us and dance and feel it, it is pretty much ideal. However, our goals for 2009 definitely include Ibiza.

Is there anything else you would like to mention or add?

Thanks, CoolJunkie for your interest! Happy new year …'09: BEST ONE YET.

A New York City "Boroughbred" living in Los Angeles, LOUISAHHH!!! cut her chops on 'real instruments' prior to choosing turntables as her preferred mode of musical expression. Since doing so, her primary purpose in life has been to share with and transmit to the crowd the joy she feels from the music. With a sonic style described as 'Minimax Acid Disco House', LOUISAHHH!!!'s craft has been honed traveling the world as both a solo artist and part of the female DJ duo, Staccato (with Gina Turner) and working at Turntable Lab LA. At the moment, LOUISAHHH is focusing on writing for www.dreambigdreamfree.com, producing original tracks and lifting hearts and opening minds with beautiful beats and melodies.

http://losangeles.metromix.com/bars-and-clubs/photogallery/meet-the-ladies-of/316623/content?photo=1

www.dreambigdreamfree.com

-greater flexibility and willingness to change. more teachable.
-travel for work, work for travel: more international gigs
-expand concept of god
-more service/selflessness
-original tracks
-working towards financial independence
-race (5k +)
-gestamkunstwerk

Q+A for Metromix on Women who DJ.

When, how and why did you become a DJ?
I started DJing when I was 17. I had been going out a lot and become familiar with bar owners and promotors. I have always been a musician and a music lover, so it seemed only natural to want to share the music I love with others. Originally, I was just messing around on CDJs, and then I got a residency so it was a natural progression to educate myself in the DJ craft, up the game a little bit.

Can you describe your DJ style?
"Acid Disco House" is what I gravitate towards musically, but "the sonic equivalent of neon unicorns battling the evils of the world" is probably more accurate.

Where are your residencies?
I have no residencies at the moment – rather than promote parties, I prefer to show up at other peoples', throw down and get paid. I work at turntable lab, though. It's kind of like a daylight residency.

Have you noticed a shift in nightlife, where there are more women?
I've noticed a new generation of young women rising to prominence as promoters and DJs. I don't think it's necessarily a 'new' idea, though. There have always been great female pioneers of nightlife – New York's Justine D. and Lauren Flax have always been heroes of mine, and there's Annie Mac and Sandra Collins and Ellen Allien who have really changed the game for girls at the top. It's nice to be on an all girl bill with contemporaries and peers who I respect as both women and DJs.

Why do you think men become DJs vs. women? In your opinion, do women approach the scene, the business, the decks differently and for different reasons?
I think gender plays a role one creates no matter what the context. For me, DJing is actually kind of a masculine act of playing God, of becoming a puppeteer, of educating and inspiring a crowd of people. However, there is a certain tenderness, or an exhibition of love for the music and the night that I find myself preoccupied with, and that has definite womanly connotation. While one takes on a certain persona when they hit the decks, for sure, at the end of the day I feel it should be about the art, not the artist. We are acting as a channel, ideally filling a role that is essentially sexless.

What's the relationship among women in the scene? Is it catty/competitive or friendly/supportive or both or none of the above?
Perhaps I am biased, as part of a female DJ duo (Staccato, with Gina Turner), but I find my female peers incredibly supportive. I am really inspired by the ladies around me. I think that it's paramount that as women we act as role models for the girls coming up.
I did a big gig about a month ago in New York, and after my set this girl and her mom (amazing) came up and told me how awesome it was to see a woman throw down. The girl was taking 'dj lessons' at Scratch Academy and was so excited about the craft of it. It is really important to nurture that in the scene, instead of tearing each other down with cattiness. There's enough room here for everybody.

Is the nightlife scene sexist?
I find that a lot of boys are surprised that we aren't getting gigs based on looks alone, that we can actually DJ with the best of 'em. There is always the element of proving oneself to an 'uninitiated' crowd, but minds are pretty open at this point, I think.

Do you think this story is worth telling?
I think this story is absolutely necessary to tell. As with any historically male-dominated field, things don't change unless there is education. Who said girls can't play hardball, so to speak, in nightlife and DJ culture? There is a bright future ahead for us, let's shout it from the fucking mountains.

 
download me.

www.virb.com/louisahhh

"There is a mysterious wisdom by which phenomena among themselves can be called by analogous names, just as divine things can be designated by terrestrial terms, and through equivocal symbols God can be called lion or leopard; and death can be called sword; joy, flame; flame, death; death, abyss; abyss. perdition; perdition, raving; and raving, passion."

"What is the digital equivalent of lovely? ...What are the digits that encode beauty, the number-figures that enclose, transform, transmit, decode and somehow, in the process, fail to trap or choke the soul of it? Not because of the technology but in spite of it, beauty, that ghost, that treasure, passes undiminished through the new machines."
-Salman Rushdie

Contemplating this as I unwind an audio cassette (Django Reinhardt/"Django's Music". EMI France 1976) and noting, not without some pseudo nostalgia for a time before my own conception, that the ends of the tape, where the entrails of the beast connect to it's hard plastic body, are red. It is dying.

It is dead.

We are walking a thin line, now. Perfect circles, the robot sounds, they are too soul-less to be attractive to that life within us.
Maybe that's why I loved electro so much when I was high?
I won't lie; I still do.
But the means by which we garner it - the CD to the MP3, all the way around and back to said MP3 being tweaked and twerked by hand on vinyl - somehow, that in itself has morphed into a delicate art. Art, of course, making us feel special, human. Alive.

The Compact Disc was introduced to the United States in 1983. I was born in 1986. Why do I still have cassette tapes in my car?
And why are is there some fascination with it? A preoccupation with the tangible, comforting sounds of work that the cassette deck provides?

Click
Whirr
01 01 01 00 11

Is there a comparison? Or is convenience versus character the question at hand?
Genius will transcend either medium, without a doubt, but what relics of now will we have later?

Regardless,
http://www.myguitarsolo.com/MIDI%20Files/Jazz/Django/nuages.mid

-if i could go back,
-would i change it?
-no.
-home/
-home

i cannot begin to articulate how grateful i am for late nights and daylights and beautiful, smiling faces of old friends and new on this first return.


i am so in love with life.

thank you for being a part of it.