A Guide to Local DJs

Disc jockeys. Even if they never touch anything remotely disc-shaped, the DJ title has stuck for the artists who use radio, vinyl, CDs, iPods, PowerBooks and whatever other media they can to get the sound out there. Whatever the method, their hands shape the secret architecture of the night, producing the soundtrack of this city’s party life.

In just the last few years, DJ culture has changed dramatically. Techno, goth, jungle, house, hip-hop, whatever — they’ve all been affected by the influx of technology, globalization, new thinking and innovation. But once they’re in front of a crowd, whether they’re scratching vinyl or running the seat-of-the-pants DJ form of live PA, the song remains the same: Get the groove going, get the crowd dancing, keep the night moving.

In the last year and a half, NUVO has been chronicling these superconductors. We’ve profiled nearly 20, with many more to come, and here we present four more of Indianapolis’ most prominent spinners along with updates on our old friends.

 Reading the crowd: Logan Matthews is Talbott Street’s musical mastermind  The very first time Logan Matthews came to Talbott Street in 1983 and heard mixed music, spun by DJ Wayne Hill, he knew this was what he wanted to do. Not that it was easy to learn the basics back then. When he first started DJ-dabbling, the only place to hear the kind of mixed dance music he liked was on Chicago’s WBMX radio station every Friday night, featuring a different DJ each time. He couldn’t get that station in Lafayette, so he’d drive up north until he could pick it up, usually after an hour on the road, stop in a parking lot and listen until 3 in the morning. Flash forward 22 years, 17 of which have been spent behind the turntable, and Logan is the resident DJ at his first favorite club and best friends with Wayne Hill. It was Hill who got him his first job in the scene as a light man at Our Place, then Logan took over as resident DJ there when Hill went on hiatus in 1987. In the intervening years, he spun at a wide array of venues — Our Place, New York Connection and the Metro — before settling in at Talbott Street in 2003. As resident DJ and chief music supervisor, he’s carved out quite a reputation for himself; NUVO’s readers voted him their favorite DJ of the year in 2004.

NUVO: What kind of a responsibility do you feel towards the club you’ve been interested in for so long?

MATTHEWS: I feel a big responsibility. I was really nervous about it. The bar had only been open for four or five months. I was only here for four or five months, and everything just kind of gelled. We were putting a thousand people here every Saturday night. This is very personal to me, this job. This will probably be it for me, when I’m done. I’ll be here as long as they want me.

NUVO: What kind of influence did you pick up working with Hill all those years?

MATTHEWS: He’s really, really good at putting music together and having a sense of a flow, to the point where it’s all seamless, it’s one song to another, throughout the night. He’s been doing it for 25 years or so; he was doing it back in the disco days. It’s really cool to be working here now, because this is the whole reason I became a DJ. I feel like, working here as it’s been reopened, that my career has come full circle.

I’ve DJed five garage parties and the annual fund-raiser for the Damian Center. One year it was at Market Square Arena, that was cool, I got to play at MSA before they tore it down. It was overwhelming! When we came out, representing Our Place, all you could see was a mass of people from one end of the arena to the other. It was overwhelming, but really cool …

I feel very fortunate in the fact that I’m a DJ in the Midwest, where musical taste tends to be dictated by the radio, and my musical taste is totally opposite of that. And because of that I get away with a LOT. I feel like I can play really progressive stuff, and people really react to that. I feel like it’s my job to turn these people onto this. There’s so much dance music out there that people will never hear because it’s never on the radio.

NUVO: Talbott Street attracts a lot of top DJs from around the country for guest stints. What’s it like working with them?

MATTHEWS: I’ve learned that they’re just ordinary people, just like everybody else. I don’t know what I expected, but everyone that we’ve had … has been very nice, down to earth and easy to talk to. No DJ attitudes.

NUVO: What’s your personal DJ style like?

MATTHEWS: I spin mostly progressive to tribal house, mostly female vocals, and a few progressive instrumental tracks. I try to throw as much of that in as I can, edgy things, and not turn away my crowd. Part of a DJ’s job is to read the crowd. Every Saturday night the crowd in here is a little bit different. We get a really big mix of people here, men to women, straight to gay to in between, the percentage of those changes every night. Part of it is reading the crowd and trying to figure out what they’ll go for. There’ve been nights I’ll have five or six people up in my booth requesting Britney and Justin, and I tell them I don’t do that, and they’re really cool with it. I try to stay away from the mainstream pop stuff. Except for Madonna; I have to play her!

NUVO: What’s your personal music collection like? How do you keep up with new stuff?

MATTHEWS: Somewhere between 500 and 600 singles, half vinyl and half CD. I was probably the last person in the world who wanted to change to CD. I put it off and put it off, and once I did it, I find that I’ll probably never go back to vinyl.

Wayne Hill and I exchange stuff that we find. Deanne [frequent guest at Talbott] and I are really good friends and exchange music. There’s a particular Web site in London, JUNO, that has every single new release out there and you can listen to a minute of it. So I spend a lot of time listening to one minute of songs. Most of the time I can tell within 20 seconds if I need to go any farther or not. I’m sure that I’ve probably missed a lot of good things by doing that.

NUVO: What’s your philosophy towards the craft of DJing itself?

MATTHEWS: I feel like the night’s a journey. So I think about how I take the crowd on that journey. There’re certain songs for me that are early evening songs, there are another group of songs that are my first established floor songs, then there are other songs specifically for peak and late hours. The way I put them together is a flow. Every DJ does that a little differently. Some DJs like to slowly bring the next song in and let them ride together a long time, some like a short and quick transition. That’s what makes their style their own.

NUVO: What kind of DJ culture do you feel exists in the city?

MATTHEWS: Not much of one at all. For this style of dance music, there’s only two or three bars in the entire city that will play this stuff. The bars in Broad Ripple aren’t this style; it’s all beat-mixed. We’re just not a big enough city to have a DJ culture here. For me, personally, I like that. Most people think a DJ is a very outgoing, life of the party person, and that’s not me at all. I’m much more reserved and a private person. And one of the things that I found out I love the most when I started doing this was that I was all alone up in this DJ booth, completely away from the crowd, completely separated yet right in the middle of the party. And I’m completely comfortable with that kind of scenario. I’d much rather be up there working than in the party.

The great science fair experiment: After 15 years, Jonathan Keith keeps on expanding

It’s nearly dead out here at the X103 studios late on a Sunday night, where DJ Jonathan Keith broadcasts his centerpiece project, the Planet X radio show, every Sunday night from 9 to midnight. He works in a darkened room, the only light coming from the consoles and a TV showing Adult Swim on Cartoon Network.

Keith is virtually an elder statesman among the DJ culture, with more than 15 years of experience behind him, starting out with seminal goth-industrial-techno nights in 1990 at the Patio that are considered by many to be the birth of the still-active gothic scene in Indianapolis.

Planet X has been on the air for five years, ever since Keith and producer Rudy Kizer were putting it together themselves and shopping it out to syndicators. Last year, Keith was approached by the producers of Planet X television, an extreme sports show based in San Diego, asking him to cease and desist using the name. However, the conversation quickly turned to how they could work together for their mutual goals, and now those same producers distribute Planet X radio. Keith started doing voiceover narration for Planet X television, which is currently showing locally Friday and Saturday nights on Indy’s Music Channel.

NUVO: How would you describe the new format of Planet X?

KEITH: The show started out as really about DJ culture. Now it still addresses that. I call this an alternative club show. I don’t even really label it as an electronic show. We’re trying to expand and listen to all kinds of good music that is rhythmic in nature. Some styles and genres of music that they don’t even have a category for.

Electronic music had a big influence on pop music and pop culture. It still does. Turn on the TV and look at all the adverts that feature electronic music as the soundtrack. Because they know that to align these products with a sound and a style and a culture that represents the future and cutting edge is very good branding.

I love good music, period. It doesn’t matter what kind it is. I’m just a music junkie. I have been all my life. This is obviously more of a niche type of audience, but what we’re doing with this new concept and format is we’re expanding it to embrace all the diff styles of electronic music. We want it to really shake up radio. We want it to really be iconoclastic.

NUVO: What about this deal with Planet X TV?

KEITH: Their goal is to get it on the air on an alternative station in all the markets where their sports show airs as a companion piece. And they’re international. And where it gets really weird is that now that show airs here in Indianapolis on IMC … what I’m starting for them is that they’re going to take this half-hour sports show and inter-stitch it with me showing videos in the studio. And cool ones, stuff you would otherwise never show. I totally believe in fate and destiny. This thing with IMC here, I call it the great science fair experiment. We’re going to see how these interstitial segments dovetail with the sports show.

NUVO: Tell us about your early years as a DJ and how it grew into what you do today.

KEITH: Like a lot of DJs I started out playing high school dances and parties for gas money. And you do it because you just absolutely love music and you want to share it with others. And the really interesting thing is, that’s what you always come back to. Years later, through all the ups and downs, whether you make a lot of money or you don’t, you come back to that; that it’s the love of music and wanting to share it with others that drives you there. DJing, when it’s done right, it’s very much like, if I were to have you over to my apartment and say, “Hey Paul, you have to check this record out!” It’s exponential. You multiply that by several hundred or several thousand. It’s spreading the passion.

NUVO: How do you feel as a DJ with close to two decades under your belt?

KEITH: Honestly, I feel like I’ve just started. I don’t DJ as much. The scene here dried up for progressive music, electronic music. After 9/11, that was sort of the watershed moment that really brought on the nadir of dance music and club culture. You had this horrible tragic event that coincided with the downturn in the economy. People didn’t have the discretionary income to pay cover charges and blow money at the bar anymore. 9/11 was such a big change in our cultural heartbeat and moral compass. A lot of people then wanted to turn inward and interact with others in more closer, cozier types of places. Even wholesome.

Now I play mostly out-of-town gigs. Now I’m trying to reach a much bigger audience on the radio. I work for Planet X television, doing a variety of things for them. I actually grew up around television. My brother-in-law was the creator of Cops, and then developed The Real World for MTV. So I’ve always sort of been around TV and have seen how you can tell stories and can communicate with pictures and words and images.

NUVO: What were those events at the Patio in 1989 and 1990 like?

KEITH: I cut my teeth as a DJ on early house and techno music from Chicago and Detroit. [When I was compiling music for the new event,] I went to this shop in Cincinnati, and the owner was a friend of mine, and he started piling on those records, and I was like, “What the fuck is this? This is awful!” And he said, “This is what EVERYBODY is listening to. This is what you have to play. This is called techno.” And this didn’t sound anything like those early Detroit records. So I started playing these and people started going mental. Those were really heady times, there was a really heady scene, there was a great mix of people. You had your techno, your goth industrial people, your cool clubby people and your average joes.

NUVO: What effect did the rave crackdown of a few years ago have on DJ culture?

KEITH: The scene completely died. Not just here, but all over the country. Major markets that were bringing in thousands of people, legitimate businessmen were targeted for major jail time. What kind of happened is that this same sort of spirit moved to the clubs to a degree, but then the clubs were under attack. What was wonderful about the rave scene is it was a way to expose the music and dancing and fellowship and DJs and the whole art to a much bigger audience. Because before the rave scene you had a few clubs spread out here and there … And what bothers me is that now there is no lifeblood coming into the rave scene. These 18-, 19-year-old kids aren’t getting exposed to electronic music. It was too much of a hassle, so they went and listened to whatever.

NUVO: What are your thoughts on DJ culture in Indianapolis?

KEITH: I think that it’s quite vibrant. There are still parties, still club nights, still industrious, well-meaning promoters who have a love for the music. It’s tough because the audience for the music is small right now. Things go in cycles. It’s tough to deal with a lot of venues and club owners who want hip-hop and 50 Cent. Never mind that you’re playing amazing fun cool music; they want to hear what’s on the radio.

NUVO: What about the changes in technology and their effect on DJing?

KEITH: You have a much wider network for distributing your music. It’s much easier for DJs to get out there. If you hear that someone played a record that blew the roof off a club in Miami, you couldn’t find it! Now you go on iTunes. iTunes is the new business model for the music industry. Steve Jobs created the new business model. It’s nickels and dimes right now, but it’s a start, and it’s really starting to show promise. The cool thing is if you have your own independent record label, you can be in business. You can sell your tracks right through the Internet through iTunes. No spending a lot of money with pressing and packaging and shipping and marketing. Now you’ve got this vast network of people you can reach.

‘I can do this from anywhere’: Adam Jay reaches global fame

At the age of 24, Indianapolis’ Adam Jay Southerland, better known as DJ Adam Jay, is already an experienced international veteran of the techno scene. He threw parties alongside the likes of DJ Shiva and Erin Vernon in the early years of his career, then moved into production and live PA performances — production and remixing on the fly. He’s released more than 50 records on a variety of labels that caught the attention of DJs and promoters around the world, and he began doing international gigs in 2002 with a trip to Australia. Since then he’s kept a busy worldwide schedule, particularly in Europe, where he’ll do sets for thousands of people.

NUVO: What was it that first attracted you to DJing?

ADAM JAY: When I was in bands I was always a real control freak. I never liked relying on other people, so when I found out I could do it all myself, I was like, this is great. Not just as a DJ, but as a producer in the studio. That’s why I stick with it. I don’t have to rely on anyone else. So for me, it’s ideal for my personality. DJing has really changed in the last few years based on technology. It’s hard for me to define DJing, because every six months everything changes and it gets redefined … But as far as what the crowd sees, it really comes down to making the crowd dance.

NUVO: What’s it been like as a DJ in Indianapolis?

ADAM JAY: To be honest, I don’t represent myself very well in Indianapolis. There’s this old adage among DJs that you’ll never get respect in your hometown. It’s true. For me in Indy, I play to my friends … I really don’t worry about Indy too much. The best way to say it is the rule just kind of makes it like you throw your hands up in the air and go, “Eh, why even push it here.”

NUVO: What’s your personal goal as a live performer?

ADAM JAY: There’s this goal to get the whole crowd grooving in harmony. Sometimes you can do it within 10 minutes of the start of your set, sometimes it takes as much as an hour and a half … The instants when the whole crowd just grooves together and clicks, it wouldn’t have happened without the hour and a half before it. It’s a journey. You want to take it to the point where someone can look at the person next to them on the dance floor and know what they’re thinking.

NUVO: What’s it like for you as a DJ when it reaches that point?

ADAM JAY: It’s awesome. To me it’s like the first time I heard “Flowerchild,” by Dan Morgan, the first techno record I bought … I was 16. The first time I heard that record, the hairs on the back of my head stood up. I said, “This makes sense. This is the music that makes the most sense to me, that moves me the most.” And the awesome thing about DJing is I can play that record for 300 people and it won’t do the same thing. But over the course of an hour and a half I can mix other things that slowly pique their interest, play things level by level, track by track, and two hours later I can play that record and the hairs on the back of their head will stand up, just like I did the first time I heard it.

NUVO: What have your frequent overseas gigs been like for you?

ADAM JAY: My whole outlook on the world has been much, much different. I’ve always been politically minded; I used to work for Citizen’s Action Coalition. I’ve had this liberal underbelly. When you travel and you see that we’re not the only people in the world, you appreciate what you have even more.

The best tour I ever did was about a year ago through the ex-Yugoslavian states. And man, did that open my eyes. I really felt ridiculously guilty for everything I have in my life. Because these people are just as deserving as me, and they’ve worked for 50 hours a week since they were 12, their parents were killed in war. And for whatever reason, whatever tracks I’ve put out, they respected me. And I was like, “I should be respecting YOU.” It was really humbling because there’s a lot more to the world than what is known as OUR way of life.

NUVO: What kind of effect does this political outlook have on your music?

ADAM JAY: I did a remix for Shiva for a label in Philadelphia. And in the break I cut up a piece of Jello Biafra. This monologue by Jello Biafra is about the whole American Christian evangelist kind of capitalist complex that is looking you dead in the eye every day in Indiana. How political is THAT? To just throw that in the middle of the break. You can definitely be political with that.

There are labels in Europe that did benefit releases for victims of Kosovo. The second record released by [Jay’s label] Azure was for Applied Biomedicine, a not-for-profit institute that does AIDS research. There’s tons of ways to be political. Politics has always spawned some kind of creative art. I think there should be more politics in techno. If we’ve got the power to educate people too, or at least communicate with them on a higher level, then why not?

NUVO: What kind of reception do you get in your overseas sets?

ADAM JAY: The Internet is the best tool of promotion … Techno is basically a small global niche. That’s the beauty of techno and technology in general. We can make it so anyone in the world can hear my music. The receptions are good, it’s almost numbing to play to 3,000 people in Germany who know me, but they don’t know me because they’ve seen my video on TV or heard my songs every two hours on the radio. They know me because they were looking for techno music, they found me, listened and enjoyed it. I’d rather play for 2,000 who downloaded something I did on the other side of the world, than 200,000 people that are here because my music was shoved down their throat. You play for audiences that want to hear you.

NUVO: What are your future plans?

ADAM JAY: The good thing is that now that I’ve done things to get people’s attention, I have the luxury of doing my own thing. I’m doing more downtempo stuff … I’m going to be touring more. I want to go to more places I haven’t been to, experiencing life more. That’s the only thing I’ve really been setting out to do. As long as I’m doing that, and I don’t stagnate and stop evolving, then I’m happy.

One thing people ask me a lot is, am I going to move, when will I leave Indy, and I have no plans for that. I know that if I move to Germany, my agency in Bremen could get me 10 times as many gigs. But I’ve got family here, I was born and raised here. Years ago, some of the guys that were from Muncie and Indy, they moved to New York and there was this sort of stigma that if you were going to do anything productive in electronic music, you had to leave Indy. And I think that I’ve kind of given people that live here a little more hope that you don’t have to do that. It’s a global infrastructure that promotes our music. I can do this from anywhere. And that’s the beauty of it.

A conversation with the crowd: DJ Indiana Jones keeps aiming for the top

It’s been a busy year for Ron Miner, aka DJ Indiana Jones, head of Crush Entertainment, consultant to numerous local artists and manager for Rhymefest, who recently represented Indiana by picking up a songwriting Grammy alongside Kanye West this year. And with Miner shuttling back and forth every weekend to spin at two shows a week in New York City, it promises only to get bigger.

Crush Entertainment works with local artists, runs promotional campaigns for local and regional companies and promotes clubs and events. They do a Sunday night reggae show at the Casbah and throw several big parties a year at the Vogue.

NUVO: How did you get started out as a DJ, and how did it expand into what you’re doing now?

MINER: I got started when my dad had a roller rink, Melody Skateland. I was the DJ there, started learning when I was 12, 13 years old. It was better than working in the skate shop or whatever. From there we did house parties, clubhouse parties. I still see people from that era.

That’s how I met Top Speed, from those house parties. We started a group called D-Kor. It was me, David Woodard, Allen Brown, and we used to perform at all the Black Expo shows, Madame Walker, USA West. This is about ’85, ’86. [I met Top Speed] and he said, “You’re really good, you should come over to my house and battle me.” So I went over to battle him on the turntables, and he merced me, basically just killed me. So I was like, “Yo, you wanna DJ in my group?” This was Christmas Eve, too. That’s how it should be. He put me in my place, you know. Can’t have no friends if they can’t put you in your place.

Crush Entertainment started in 1996 or so but really the foundation was laid a long time ago. The foundation is parties and nightclubs. The guy that I founded Crush Entertainment with, Mark Seidman, we started together across the street here when it was Kilimanjaro. It was a real New York-style vibe. This is about 1992, 1993. All this stuff was part of a foundation that created this whole thing. My successes, Rhymefest’s successes, Top Speed. All of us have really benefited from this. It’s great. We’re really proud of it. Rhymefest’s success is amazing, you know, and he’s enabled me to have great success. It couldn’t have worked out better for me or Crush Entertainment.

NUVO: What’s your personal approach to DJing?

MINER: Every situation is different. I try to read the crowd. A lot of DJs forget how much music is out there. If it’s 10 at night you don’t necessarily have to play “Candy Shop.” You can play something different, you can play some ’80s, old-school, some reggae. I was watching this interview with KRS, and he said, “DJs, you should play at least one classic record for three hit records you play.” And I thought, “That’s so true!” Because if you don’t, you’re shortchanging the audience. You’re not playing for 100,000 people. You’re playing for 100 people, and I guarantee at least one or two people out there want to hear something they didn’t hear on the way to the club. I won’t play a whole record. I try to play the best part of each record. I like to use records to introduce other records. Sometimes there’s a beat that makes a nice mix. It’s a conversation I’m having with the crowd, basically.

NUVO: How’d you end up with the moniker “Indiana Jones”?

MINER: I didn’t really pick the name. I lived in New York throughout most of the 1990s … and in NY, they come up with a name for you. “Hey, Indiana!” They knew I was a Pacer fan, a Colts fan and Reggie was in his heyday out there kicking their asses. Being from Indiana didn’t always make me popular at the time! And it just kind of got expanded into Indiana Jones. Which is a lot better than some of the names I’ve gotten.

NUVO: What are your thoughts on DJ culture in Indianapolis?

MINER: I’m in and out so much, who am I to say?

I’ll say this: If you’re a hip-hop DJ and you play reggae records, there’s more than 10 reggae records out there. At least try to look for something new. That’s my only criticism of DJing around here, and that’s what I’ve told every DJ.

The state of it is booming. There are a lot of DJs out there and they’ve still got jobs. The real good mom and pop stores are still around, Missing Link, Indy CD and Vinyl, they’re like rocks. If we had some really, really good local product, it could become a Bay Area situation where … we don’t need anything from outside of here. But the producers really have to step up. It takes money. And unfortunately the only people here who have money behind it are athletes who want to be rappers. I wish we had more lawyers who wanted to be in hip-hop!

NUVO: What about these New York gigs?

MINER: I’ve been doing it six weeks so far. I DJ Saturday nights at Lot 61 in Manhattan, and I DJ Sundays at Sputnik in Brooklyn. It’s grown, too. Every week’s gotten better. The Sunday night thing is not large by any means, but it’s been really cool. Imagine like the Alley Cat and cross it with the Vapour Lounge. It’s all mod, cool furniture, but it’s a grimy place. But it has an art gallery, two floors, a library and a café. It’s real grungy and cool. My Saturday night party, once that thing gets on, if someone hears me from out of town, they can be like, “I got this party in Miami,” “I work for this fashion designer and we want you to DJ our fashion show.” It’s an opportunity for some extra success.

NUVO: What’s up for you and Crush in the future?

MINER: I’m going to hit the Rhymefest tour when it’s time for his album to be released, probably in late summer. We’ll probably do a radio promo before then. I’ll try to focus on expanding my profile as a DJ in New York. I’m on the bottom of the ladder there. But I know I can do it. I did it somewhere else, I know I can do it there.

The main thing is just getting Rhymefest out, you know, OUT. The album is just sick. No ID is producing on it. Kanye, Mark Ronson. I think Crush has influenced more artists locally here than we’ve actually worked with. Because I can say I’ve helped this person do that or this, but at the end of the day what’s that? It doesn’t mean anything. Anyone who’s followed the blueprint and done what we’ve done, developed the relationships, has had at least a moderate amount of success in this city. I think there’s potential here. Maybe that’s just because I’ve had some success. There are some people with potential here in Indianapolis. It’s just a matter of staying focused every day and doing their P’s and Q’s. Some people who are trying to do front-seat should maybe take a few back seat roles. But that’s just human nature.

DJ Updates  Alyda

Empress Alyda Stoica continues to promote her monthly ’80s and Beyond nights the last Wednesday of every month at the Melody Inn, as well as frequent guest spots and other events promoted through her Web site at alyda.com. Despite an inference in this space that was entirely not my fault*, she likes electronic music just fine, thank you very much, so quit hassling her about it. *untrue  Shiva

Shiva’s Monochrome night on Mondays is no more, but she continues to spin occasionally, promote events and produce her brand of politically conscious electronic music. Check out her latest work and activities at djshiva.subterror.comMerkaba and Dozuki

The husband-and-wife team of DJs Merkaba and Dozuki have moved into semi-retirement since the demise of the Monochrome night, but they still do occasional sets. Dozuki in particular has moved into production.  Mister E

Along with DJ Copper Top, veteran goth DJ Mister E continues to promote and spin at the goth/industrial Darwin’s Theory every Thursday night at Fusion, as well as occasional guest spots and out-of-town gigs. Check out his schedule at www.mwafterdark.com.  Charles Reyes

Charles Reyes continues his weekly Friday night gigs overseeing the drag shows and dance music at Legends Show Lounge, the laid-back sister club to Talbott Street. He also spins at Talbott Street on occasion.  Tantrum

DJ Tantrum continues to spin at various events around town and is planning on opening a new event night in the near future. Watch this space for developments. Deanne DJ Deanne does frequent guest spots at Talbott Street as well as gigs around Indianapolis and the rest of the country. She also does a mix show on www.fusionchicago.com every Saturday from 10 p.m. to midnight Central Time (11 p.m.-1 a.m. screwy Indiana time). Check out www.djdeanne.com to see what she’s up to lately.  Multiform

The DJ duo of Paren and Matelic continue their Thursday night multigenre “Multiform” shows at the Casba. Check out their other activities at www.no1ofcons.com.  Kristen Leep

Kristen Leep, freelance sugarmama, self-proclaimed trash DJ, continues her obsession with all things gadgetlike when she’s not playing Dance Dance Revolution. Her photo book, A Year In Indianapolis Music, remains in progress. Check out her latest doings at www.kristenleep.com.  Sarah Vain

Sarah Vain, ever the energetic renegade trying to save Indianapolis from itself, runs two nights a week: The Brit pop/indie music night “Panic!” Tuesdays and “White Lies,” an unapologetically cheesy 1980s event, every Friday. At least one person took my description of her as a “combat DJ” a little too literally and asked if she did music with actual weaponry, which when you think about it is actually a pretty good idea.

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