Relentless Blog: A Diary of a NEW YORK DJ  April 14th, 2010 (This is why I don't like to play Reggae in gay Bars and Clubs) Often when I am working at a bar or a club, I notice that there is always some young kid (ages from 18 to 25) who will run up to the booth and request the latest Reggae hit. I usually frown and then tell them that I don't like playing Reggae. Then I tell them that if they knew the politics and hatred that goes with that genre of music, they wouldn't be asking. They usually look as if I had three heads and a tail and then proceed to tell me that this is what the kids are listening to these days. Then I tell them that I had a friend who was murdered in Jamaica for being gay. These people would kill you for being who you are. You should not be supporting “Murder Music” if it's artists don't support your lifestyle and very being. Of course, there are Reggae artists like Sean Paul, Lady Saw & Shaggy who do not make "Murder Music", but some of the heavy hitters like Elephant Man, Beenie Man, and Buju Banton have made records that condone hate and the murder of "batty boys" and "chi chi men" (both terms for homosexuals). Usaully, these are the artists who are being requested. Another thing...I also believe that many people tend to lump other Caribbean genre(s) like Soca and Calypso with “Murder Music” and that’s not fair. There’s probably some reading this right now who really doesn’t know the difference. Well there is and you should do your homework. As far as my taste, I like some Reggae. Some of the tracks are infectious in their riddims. But I don't play many artists because of homophobic lyrics. This applies to all genre(s) of music for me. Artists like Eminem got dropped from my playlist years ago after he and Dr. Dre were quoted saying that “they don’t care about those people” (meaning fags) in Rolling Stone. And although most DJ’s wouldn’t even address this subject matter because many play all kinds of Reggae, I just could not stand by and do nothing when there is so much hatred being promoted through music.  I believe calling "Murder Music" what it is. Hearing a Hip Hop song that an artist says "faggot" is not pleasant, but hearing lyrics that say "kill faggots" is completely different. Both should not be there. But that's just like hearing "nigger" in Hip Hop. If you heard it in a country song you would be furious. On April 14th, 2005, Donahue Jimmy Bulgin was murdered. His body had been mutilated and left in his yard. The killer then stole clothing and his car from his home. Jimmy had just celebrated his birthday three days before. Because homosexuality is outlawed in Jamaica, the police barely did anything to find who did this. Why? Because of "Murder Music"! Lyrics that reinforce the ignorance and hatred that has plagued our gay brothers and sisters in the Caribbean for centuries. And I am sure many decendents from Jamiaca are going to say that I am targeting a small poor country that is limited in resources and education. That religious beliefs are the main source of the homophobia in their homeland, but guess what....that is the excuse in every country. This is not an excuse of what happened to Jimmy. And just as many would be up in arms if a Country Artists said “nigger” in his/her song, we as the the Gay Community should be standing up and doing something. Yes, I do not live in the Caribbean, but I do live in a Gay Community. And I would like to help and preserve my community. This is why I wrote the blog in the first place. To remind my community that this is what happens in places that do not accept homosexuality as a lifestyle. If you want to make a change in the world, you have to start where you are. In 2001 I was interviewed for an Australian TV Documentary about homophobia on the dancefloor. I told them about a gay club in NYC called the "Warehouse" that had an Urban clientele in the Bronx that made an announcement that "they weren't going to play anymore faggot music on the main floor". By "faggot music" they meant House and the Vogue-ing Beats. The main floor was only going to be for Hip Hop and Reggae. To me, this is a major sign that our gay urban youth are exterminating our culture to emulate their straight counterparts. It’s almost as though they are going back into the closet. Well, I am not going to let thyat happen on my watch. I know that one DJ refusing to play a Reggae song isn't going to change this. But if I can convince one gay youth to reconsider their choice of music on their dancefloor, I have done my civic duty to my community.  January 2nd, 2009 (Time to move on, it's a new day) On December 17th, the owner of The Brook called me in for a special meeting. I was led to believe that we were going to talk about a possible extra night of work. Instead I was told that I was being laid off. That my night was doing poorly. That I didn't do enough to promote the night. Well, I pointed out to him that when I was trying to organize the night, he wouldn't let me. He pulled the budget. I never got to show him what I could do for his establishment. When I was on Fridays I didn't get to spin alone. Then he moved me to Saturdays (the slower weekend night) with no real promotions or ads in a publication. Meanwhile he gave Fridays to another DJ and this guy looks like he's killing 'em. But any skilled DJ could have turned that night out. It was already established. Even a non-skilled DJ could turn it out. There's not another place for miles that formats Hip Hop. Of course, the place is packed. But the new guy is attracting a crowd that the owner is concerned about. I tried to tell him that it is all in your programing. I could have gave them what they wanted and then some, but was never given the opportunity to shine. So, I decided to tell my side of the story for the few who have e-mailed me and asked what happened. December 17th, 2008 (I live in a DJ Bizarro World!) I just don't understand. Why do good employees get walked all over and the ones who are late, cause fights, and are not as experienced get the promotions and praise. I am feeling like I am unappreciated and overlooked. From folks that I have worked with for years who forgot my birthday to bar owners who don't realize that the problems that have manifested in their venues are caused by their choices. Who do you put your faith in? Who makes the most sense when you look at the big picture of what you want in your club or bar? This has been a year of change (most definitely). And I swear to you...in 2009, I am going to make some major changes in my career. There has to be a club out there where I can program and play for everyone. These segregated formats are horrible. A DJ should be able to take you on a musical journey that spans the spectrum. A DJ should not also have to be a promoter. I am a very talented individual and there has to be a club out there that would appreciate all that I have to bring to the table. A DJ, performer and vocalist. Someone, please...invest in this talent so we can make some real money and change the scene back to DJ's who can mix. August 14th, 2008 (Be careful what you ask for...) It's been almost a year since I wrote in this blog. A lot has happened. My dream job of being a resident at the Monster turned into a nightmare in just a few short months. Politics and prejudice made my exit a painful one. The realization of racism in the gay community was never more aparent. The owner who didn't like urban music felt that the inclusion of it in the format at the Monster would "turn his club ghetto". With managers and lesser employees whispering in his ear, he didn't seem to notice me programing Celine Dion and other Pop artists in the mix with Beyonce and Missy Elliott. The fact of the matter is...Hip Hop is a part of Pop Culture and there's no way around it. When Madonna is working with Pharrell and Timbaland it is a definite sign that the old days are gone. So, days of shirtless handle bar mustached men sweating to "So Many Men, So Little Time" are just not gonna happen on a Friday night in NYC. But being afraid that he and his staff would not be able to control the scene, he decided to fire me. And not just fire me...put me under a microscope. He made rules that only applied to the only African American DJ to spin at the Monster- me. I wasn't allowed to play any Hip Hop. But the bizarre thing was he allowed me to spin whatever I wanted before I was added to the payroll. It was almost like he hired me to see if he could control me. As I built his slowest night during the week, he kept me off the schedule for Fridays and Tuesdays. And I apologize, but I can't spin for who you would like to be in the your club. I can only spin for who shows up. And with no cover and the West Village being abandoned by the gay dollar for Chelsea back in the 90's, that only leaves the urban kids. You do the math. It was very hard to let go of my dream of helping to revitalize Greenwich Village. I wanted so badly to make the village a party place again. But closed minds closed that door. Stonewall and the Monster both could do so much better if they catered to the urban crowd. Cuz' let's face it. The Chelsea boys are heading north to Hell's Kitchen. So, you can run all the ads you want with half naked go-go boys. It's not gonna pull the ones who go to Splash, HK or The Ritz. But out of the ashes, I came up with some great ideas. I wrote and hosted a TV show that just wrapped up filming in Brooklyn. I tried to sell this idea to the owner of the Monster, but he was so hell bent on getting rid of me that he wasn't listening to a word I said. But I got Langston's in Brooklyn to let me film the show there. If you are curious about it, check out the blog at myspace.com/JadeElektra And the other great news is that my best friend, MJ White, started his own digital record label called Feljai Records. And I recently finished vocals for a cover of Billie Holiday's "Don't Explain". And starting in September, I will be the new resident at The Cage in Hoboken, NJ on thursdays. So, although the Monster didn't turn out like I wished for, I am still glad to have had the experience. It taught me to work on my dreams no matter how small or big. Every little bit counts in the big scheme of things. And for a brief moment in 2007, the West Village was inclusive and had a place to enjoy all types of music on one floor. September 30th, 2007 (Almost a month as an employee at the Monster) Finally, I have been added as the resident DJ at the Monster for Wednesdays and Thursdays. It has been a blessing. But unfortunately, shortly after I was hired, the general manager, Mel died. Mel was a good friend and a sweet guy. He was very helpful in getting me set up in my new nights. He will definitely be missed. Another thing that happened shortly after I got hired was the owner's decision to censor Hip Hop from the format. Which came to be a surprise to some of the customers who were estatic that I was hired. They believed that this was a bold move to updating the Monster's sound. I was not surprised. There is always fear in the unknown. The Monster has a reasonable amount of Black customers, but has never really catered to them. And today's popular music is Hip Hop based. But old habits die hard. And strangely, the customers who are requesting the more Urban Music are not Black , but White and young. With being the first African American Dj to spin at the Monster comes a lot of responsibilities. I hope that I can live up to them. August 17th, 2007 (My Birthday and New Purpose) Last night, I worked over in Brooklyn at a club called "Langston's" and I learned a valuable lesson. With this being my 40th Birthday today, I have learned that I am too old to have to deal with our youth absorbed culture. For the past few months I have been trying to spin at this club, but it caters to a young West Indian crowd that basically consists of young homosexuals who want to dance like "girls" to Reggae and Soca. The ironic thing is that if they were to go to a straight club and dance like that, they would probably be killed...literally. So, I no longer am going to cater to the youth. They do not deserve all the attention that the media has given them. They have not earned it. I am going to move forward into promoting what I believe New York's nightlife is missing. This trend of playing more Hip Hop, Reggae and Reggaeton instead of House in gay clubs, is wrong and a sellout. House and Disco are the foundations of the club scene in gaylife. Knowing your truth will set you free. I was put here to teach through my mixing and programing. This does not mean that I won't play these genre(s), but I have to keep our history alive through what I play. December 11th, 2006 (House is still alive!) Back in September, Harmonica Sunbeam and I decided to return to Escuelita for the Sunday T-Dance. I only did it because she asked me to. The owner and myself don't get along (which is an understatement). But I knew when i returned that it would be a tough night to spin, because of the DJ that I left there had re-programed the night to be Hip Hop, Reggae and Reggaeton. The original mix of those things with House and Cunty Beats had been long lost. So, for months now, I have been playing what they were used to. Well, tonight I threw caution to the wind and felt like spinning some true House Music. I didn't care if they danced or not. My soul needed to hear some House. House like we used to sweat to. House like we used to feel in our bones. I went from some Deep grooves to some Gospel House and believe it not, they dance! It wasn't a packed dance floor, but a few people came up and asked if I had some House CD's for sell. And even Lee Soulja came to the booth and said "Who says House is dead? House is alive!" October 25th, 2006 (History has been made) I just got home from spinning Classic Disco at the Legendary Monster in the West Village. This was the very first Gay Bar that I came to when I moved to New York. It is a staple to the Gay Scene in New York. For the past 6 years, I have been trying to spin at the Monster. Well, it finally happened. And to my knowledge, I am the first African American DJ to spin there. I was filling in for Warren Gluck, who has been a resident there since it opened about 25 years ago. It was a totally amazing feeling. It was rewarding as the time I walked on the stage at the Apollo. Feeling all the history that has past through the place made me feel even more like a New Yorker. September 18th, 2006 (The recovery from David Hoffman's Birthday Party) I was so glad to see the community of Asbury Park embrace my best friend, MJ White in his performance at The Circuit this weekend. I had been playing his tracks for months and they actually got to hear him sing them live. A few folks were surprised when he invited me on stage to do back up vocals for "Love Is Love" and "Love Can Be". I had a great time. And the food was great. Special thanks to Anthony for that. And I hope that David a wonderful birthday. His mother was the life of the party. And also another special thanks to Mike Woods for taking all the photos. I can't wait to start the new myspace page for The Circuit. Well, it's off to the gym and an evening of rest and relaxation. June 5th, 2006 (The day after New Jersey Gay Pride) I am pleased to report that I had the best Gay Pride I've ever had. I spun at the The Circuit in Asbury Park and when I tell you I played everything and the kitchen sink- it wasn't an understatement. I had such a great time. I love being able to spin everything for a floor. From old Disco Classics to Hip Hop to Club Anthems. I had the gyrls dancing from the dancefloor to the sidewalk outside. What an amazing energy! Thank you New Jersey for letting me be myself. I hope that you all had as much fun as I did. And I hope you come back every Friday and Saturday night. I plan to have many more nights like this one. Where all are welcomed and everyone gets served the kind of music they like. That's the way it should be. See ya there!

Pictured above (DJ Relentless and his manager, Jermaine Onwubere) WHO IS DJ RELENTLESS...? Alphonso King originally from Tampa, Florida, came to New York City in 1992. Alphonso King has built quite a name for himself as DJ Relentless. He is currently a resident DJ at the Circuit in Asbury Park, NJ and at Escuelita Nightclub here in NYC. Relentless has been a reoccurring guest DJ at NYC’s legendary and historical Monster Bar in Sheridan Square in Greenwich Village. DJ Relentless has also been resident DJ at a few other well know venues around town: Therapy; Barrage; XES Bar and Lounge; Posh Bar and Night Skool @ Lotus. In 2006, Relentless’ disc jockey skills were sought after for the international club scene for Dominican Island Heat 2 in Santo Domingo, Dominican Republic; a full week of parties and drag review shows. DJ Relentless also had the pleasure of being a guest DJ at Complex Sky in Montreal, Canada for their Gay Games. In recent years, DJ Relentless has been a two time nominee for “DJ of The Year” at the Glammy Awards. Outside of his disc jockey work, DJ Relentless has been sought after by many, for various music related projects: Jayms Blonde Secret Agent 69, Online ‘Zine; Musical Director for Harmonica Sunbeam’s Sunday Night Tea Dance at Escuelita; Music Director for several voguing and runway Balls in the Ball Community; Sound and Musical Director for the 2005 run of the play “Happy Birthday Madame Alberta” produced by ZenBizness, LP and Jackson Anubis Productions. To satisfy his desire to give back to the community that has given him so much, Relentless has done pro bono DJ work for various benefits for community based organizations such as the Harvey Milk School at Hedrick Martin Institute and for Black Pride NYC, Inc. to name a few. Being an enterprising individual, DJ Relentless as also provided his services for several corporate functions for companies such as Related Management Company, LP and Saturday Night Live.   With 25 years of DJ experience under his belt and a mind filled with musical knowledge and history a la the endless file cabinet in “Joe Almighty” DJ Relentless is pleased that his skills are still very much in demand. Having witness the landscape of New York nightlife ebb and flow over the years, sensing a need for a little extra something for his patrons and fans, DJ Relentless has recently added VJ to his moniker highlighting his ability to adapt with the times.    As a recording artist Alphonso King began his career in 1997 with the release of his first 12” Dance single “Why Are You Gaggin’?” as his alter ego- Jade Elektra. In 2000, he signed a record deal with Triple XXX Records in London. “Bitch You Look Fierce” and “Proud Mary” have become underground dance and runway favorites from New York to London. Jade Elektra’s most recent recording “How Do I Look” produced by Midnight Society has been a sought after track by a few record labels and DJs such as Peter Rauhoffer and DJ Paulo. He is currently writing and producing recording as his new persona- Giovoni. As Giovoni, Alphonso King has started recording and writing with MJ White. Their first track together is called “Becoming Light” which was produced by DJ Comacho. With several more projects in the works, DJ Relentless, Jade Elektra and Alphonso King are definitely names to look out for.