I was shopping at Spinmasters with DeMarkus, who was my new boyfriend at the time, and came across the Drum and Bass section. I bought my first record, Omni Trio Skeleton Keys and it was all over from there. I moved in with Lauren Larose in 1997 and we would hang out with DeMarkus, Scott, Joe, Brett, and James on a daily basis and we would hijack their turntables any chance we were given. We bought a pair of belt driven Gemini turntables with a 2 inch long pitch control and started learning the hard way. We would record every time we mixed and listen back to it immediately afterwards. After playing on those Geminis, transitioning to 12's was a breeze. I started hanging out with Damien from the Bass Intelligence Organization (BIO) and quickly got obsessed with the drum and bass (dnb) scene. We went to the Cavern, Gridlock and Micks to hear the newest cuts. I remember spotting Seinfeld at Micks bar on a dnb night - that was surreal. We started a weekly at the Royal Rack called "Lion" on Tuesdays and I was able to play in front of crowds on a weekly basis and learned a lot about dj'ing. It was like boot camp on hydro and I loved it. The vibe was really thick and the mixture of the dnb with reggae along with Spellbinder and the other local mc's was great.

After playing dnb for a few years the sound started to change. At the time I was having trouble finding records that I was really into. Everything seemed the same and to me sounded unfinished. It came back around later but during that time I started buying house and playing out with the Household crew. I enjoyed having so many people dancing and the feeling was different. After trying to keep up with both genres - which was becoming expensive, I stopped buying dnb. At the time I was being booked for more house gigs so I went down that road and here I am. I'm really proud of how well our local dnb guys are doing - they deserve it.

As far as production goes I sat in on sessions with Brett, James and De around '99 and tried my hand at various loops outside of the sessions. At the time, my father had a state of the art recording studio so I was keen on the inner workings of live production recording, but dance music was another story. It took years before I could really get past starting loop after loop after loop and finally in 2003 I took the initiative to complete a full track. Now I can't stop. It's addictive.