Richard, I found from a forum in 1997 where someone says:

Date: Tue, 27 May 1997 14:08:20 -0500 (CDT)
From: ".xAQ_" <zbentz@...>
To: moby is keen <mobility@...>
Subject: (mobility) let's go free sample

i just got deee lite's "infinity within" cd for $.50 at a place
called
"only deals," and on it, in the song "runaway," there is a bit where
she
says "let's go freeeeeeeeeeeeee." i think that moby uses this in his
song of the same name. any thoughts?

-xaq-

--- In globaldeeelitefans@yahoogroups.com, "Richard Thietje"
<doodlebug@o...> wrote:
> Did anybody else notice that Moby didn't credit Deee-Lite on his
> song "Let's Go Free" from the "Everything is Wrong" album which was
> obviously sampled from "Runaway" on the "Infinity Within" album.
> That's just wrong. Way to s l o w t h e r e c o r d d o w n and add
a
> beat Moby...whish I could do that and make money at it.

Hi Richard. I remember you saying this before to me by e-mail. I
haven't had the chance to listen to that song by Moby. But now that
you've reminded me, I'll try to find the song soon and have a listen.

Hakan

Ok this one is really weird and seems to be a total lie. There's a
guy called Martin Bisi, who's like a mixer or something. This is what
he says in an interview:

--------------------------------
"How whites perceive the black perception of homosexuals is a big
problem. In fact, it's a big problem for me. I was appalled about how
homophobic Bootsy Collins was. When Bootsy found out that the people
in Deee-lite were homosexuals, Bootsy left. He stopped working with
them and got the rest of those guys like Maceo Parker from the James
Brown band and P-Funk to pull out. He got all of them to pull out
from Dee-lite because...they're homosexuals. Now, Bootsy - here you
have a semi-legendary figure in black music who I totally expected to
be an enlightened person. I was ready to write him off. A happening,
hip, tuned-in, influential, real inspiring artist is, in fact, a
horrible homophobe."

http://www.martinbisi.com/interviews/petros.html
--------------------------------

Comment from Hakan:

Now wait a minute. Since when have the Deee-Lite members been gay?
Lady Kier and Dmitry were girlfriend/boyfriend and DJ Towa is married
to a woman.

Maybe Bisi knows half of the story and means that Bootsy left Deee-
Lite because they supported gays and gay rights and all that?

I recently found this out. There's a book that was published in 1994,
called "Microphone Friends: Youth Music & Youth Culture" and it has
an essay by Lady Kier in it. Read the below article I found on it.
You can find it on Amazon.

Hakan


From Publishers Weekly

The topics included in this collection of essays springing from a
Princeton University conference range from black nationalism in the
hip-hop community to the disco scene's vision of gay identity to hard-
core rock and its evolving relationship to feminism. Among the many
perceptive arguments advanced is Sarah Thornton's contention that
youth subcultures enjoy negative media attention and provoke
public "moral panic" as a marketing strategy. In assessing the role
of culture in catalyzing social change, most of these writers see
styles and rituals as means by which economically and socially
marginalized youths claim public territory for themselves. Some
suggest that the revolutionary rock of the '60s was more fantasy than
reality; Robert Christgau notes the political ambivalence behind
anthems such as the Beatles' "Revolution" and Buffalo
Springfield's "For What It's Worth." With its inclusion of club
priestess Lady Kier Kirby's incantatory appreciation of the disc
jockey, and co-editor Tricia Rose's probing interviews with vogue
artist Willi Ninja and rap music industry executive Carmen Ashhurst-
Watson, Microphone Fiends extends its appeal well beyond the
academic. Moreover, the scholarly contributors, "some of them
stretching into middle age" (as Andrew Ross notes in his
introduction), strike a welcome balance between self-aware and self-
conscious pronouncements on the next generation.

I recently read somewhere that her real name is "Kiera Magenta Kirby".

Previously I had known it as Kierin Kirby.

Hakan

Ok, well I have not seen this girl or heard her sing. She's a 16 year
old singer/songwriter (she was 16 at the time of the interview, I
don't know how old it is) from Australia.

Her first song is a cover version of Groove is in the Heart. I think
this is the first ever Deee-Lite cover, right?

I found the below comments on it (GIRL is the name of the magazine or
site).


----------------------------------------------------------------------
Her latest effort and debut release as a solo artist, is a brilliant
cover of the massive 1990 hit "Groove Is In The Heart". An
appropriate song for an artist who declares that music IS her life
and whose musical dreams are never too far away.

In this revealing interview, DeeJ speaks of the tragic loss of a
close friend, her burning passion for music and her love of shopping!

GIRL: Your debut release is a cover of the 1990 hit "Groove Is In The
Heart". Do you remember listening to the original version when you
were younger?

DeeJ: I was pretty little but I do remember listening to it back then
and the line in the song "I couldn't ask for another" has always
stuck in my head.

GIRL: Why did you decide to release a cover as your first single?

DeeJ: Well I was in a band from the time I was twelve, writing
originals for them and after that fell through, because the other
lead singer in the band passed away, I decided to work on my own
stuff. While I was doing that the guys from DSP came to me and told
me they were doing this track and I loved it. I thought it would be a
great thing to do, it's really fun and the sort of thing I'm into.

GIRL: The original version was performed by Deee-Lite. Have any of
the original writers heard your rendition?

DeeJ: Yeah my record company did tell me they were going to send a
copy to them but I haven't heard a response from that as yet. But I
am hoping they like it.

http://www.girl.com.au/deej.htm
----------------------------------------------------------------------

I like the following article because Dmitry explains how his views
about the music industry changed since Deee-Lite.

Enjoy,
Hakan


April 3, 2001

"Little to Prove, a Lot to Gain
Supa DJ Dmitry Has Come a Long Way From Deee-Lite"
Anna Kaplan
Retriever Weekly Editorial Staff


Last Saturday's ArtGazm event featured DJ talent both local and
international. The headlining act was Supa DJ Dmitry, an electronic
music artist whose fame stems from the success of the pioneering
dance group Deee-Lite. Now a solo artist, Dmitry is traveling the
world promoting his new mix CD, Scream of Consciousness, which was
released on Wax Trax!/TVT Records last November.

The record is a collection of remixes plus a few originals. Dmitry
collaborated with many different artists, some of them leading
international DJs, to make this record. A few tracks feature vocalist
Julee Cruise, including Dmitry's rendition of David Bowie's
classic "Space Oddity." His set at ArtGazm reflected the same
eclectic collage of styles that the rest of his solo work does — he
combines different electronic subgenres to create seamless dance
tracks.

He showed up an hour before his set with a trunk of records and a
smiling entourage. Tired from his flight from Tijuana, where he spun
on Friday, Dmitry spared a few minutes for an interview. He was
dressed in bright safety orange, curly dark hair piled into a
ponytail on top of his head. He wasn't happy when I told him he could
not smoke inside the Ballroom.

Born in the Ukraine, Dmitry was exposed to music from a very young
age by his mother, a classical pianist. She enrolled him in music
school at the age of 8 and he remained there until he was 14, when
his family immigrated to the States. Living in New York City, he
listened to everything from '60s rock to funk to '80s music to early
hip-hop. "Being in New York, you get to see a lot of diversity. … New
York has definitely been an influence to me," he says. As his musical
influences, he lists world music, early jazz, funk, dub, disco,
techno, electro and lounge. And as far as his fellow electronic music
artists are concerned, he has a lot of respect for Aphex Twin and
Autechre. "This movement has produced one idiot savant," he says
about the former.

From the late '80s to 1995, when the group disbanded, Dmitry was part
of Deee-Lite, a seminal dance group consisting of Dmitry, vocalist
Lady Miss Keir and DJ Towa Towa Tei, that is most widely known for
the smash hit "Groove Is in the Heart." Far from being a one-hit-
wonder, as they are commonly viewed by the world of mainstream music,
Deee-Lite was a key element in the growing underground rave scene of
the early '90s and opened a lot of doors for electronic music.

Dmitry has come a long way from the Deee-Lite fame. "What I do now is
so different," he says. "I plan to defy expectations." He prefers
working solo to being part of a group because he can have ultimate
creative control. "I work with singers and musicians, but I'm in
control … I'm very confident about engineering my own stuff," he
says. Although currently on tour to promote Scream of Consciousness,
Dmitry is still finding time to spend in the studio, working on
another record of original material to be released in about a year.

"DJ culture has been a culture of appropriation … If you can't afford
to buy the music, you download it," he says when I tell him I got his
CD off Napster. He admits to using the service that's currently under
fire, but recognizes the harm it can inflict upon struggling artists.
Ultimately though, getting people to listen is the most important
thing — the more people download, the more they like the music, which
leads to actual purchase. Dmitry uses Napster, but prefers to buy
music because he likes to have tangible records and CDs, complete
with cover art and credits.

As a veteran of the electronic music scene, Dmitry reflects on its
current state with a tinge of disenchantment. "There was a lot of
idealism [in the beginning]," he says. "We were going to change the
world, unite everyone under one roof … [But] we didn't change the
world. There isn't the same idealism. You start to take things with a
grain of salt. Now, kids come [to raves] for drugs. It just loses the
point." But he is confident that the music will survive and carry on.
With the infiltration of electronica into the mainstream, a lot of
DJs are getting the recognition they have long deserved. "I don't
think at this point we [the DJs] have to prove anything to anybody,"
he says.

http://trw.umbc.edu/articles/2063?
Newspaper_Session=3fcfdae26129371331cec50db75aa2f9

This one I found quite interesting. I'm pretty sure that anyone who
remembers Deee-Lite will also remember Army of Lovers, as they were
from the same period of time.

In an interview with Jean-Pierre from Army of Lovers, he first talks
about how the other Swedish bands like Roxette and Ace of Base did
not like them. The rest of the interview is what concerns us:

----------------------------------------------------------------------
So there were conflicts between the several Swedish band, but it
never came to a real war: "We never started a war. Neither did our
fans, they are too intelligent for that.", said Jean-Pierre. No war,
but there is one name in the musicbusiness that Army Of Lovers hated:
Deee-Lite. Everytime Deee-Lite had the chance, they gave Army Of
Lovers a bad name.

Deee-Lite, known from the single 'Groove is in your heart', had
chosen the same base as Army Of Lovers. Namely: parody and a lot of
kitsh. According to Jean-Pierre the actual war between those two
bands started when Army Of Lovers were starring in a show from Jean-
Paul Gaultier where Deee-Lite were part of the public: "We looked a
bit provocative to their direction.".
----------------------------------------------------------------------

Full article:
http://users.skynet.be/bk239162/Army%20Of%20Lovers/c06.htm

I think this interview is only 2 or so years old. It's useful as it
talks about early Deee-Lite stuff and how Towa reacted to Deee-Lite
becoming famous with their first album. Funny stuff. :)

Hakan


TOWA TEI
BY PARTYSAN – vegard.stromsodd@...

We met up for a bit of a social and a bit of a chat with Japans top
DJ Towa Tei and his crew in the SAS Hotel Amsterdam after he'd played
the VIP club @ Paradiso with Eddy de Clercq and Jose Padilla.

After graduating as a design student in Japan 1989 Towa Tei made the
decision to move to New York to study because of hip hop, pop art,
Basquiat, Warhol and Keith Haring. EPMD, Run DMC, Frankie Knuckles
amongst others were ripping up the old school skills at the time.

How did it start?

`Music fascinated me and I didn't go to school very much. I met the
Jungle Brothers and had already met Kier and Dimitry. They had
already written a few songs as Deee-Lite but I thought I could help
them because I had a computer and they didn't! She told me I needed a
DJ name and as I was a fan of the Jungle Brothers, and living in New
York I had to have a jungle name. Kier suggested `Towa Towa' which
sounded African. I designed a business card, went to see the Jungle
Brothers DJ and gave them my card. They said `Wow, who designed this?
Maybe you should help us with our design. They started to come over
to my house more and more, and I began to chop beats and learnt
programming from them as we worked. That time was very cool. I learnt
so much from them. Then I was a cheap engineer, now I am a bit more
expensive.'

What about Deee-Lite?

`Deee-Lite started as us three performing in little clubs from about
1987 and all the songs were written by 1990, but needed production.
When the single `Groove Is In The Heart' became a dance hit in New
York, I knew it was going to go worldwide as a dance hit, but not as
a pop hit. It went out of control. After one interview Dimitry and I
went record shopping. We were buying an ice cream and a few(!) girls
started coming towards us. I didn't have time to react, but Dimitry
turned to me and said, `Run!' That was the beginning of things being
a little bit weird, a little psychedelic. One other thing I'll never
forget was a really big blonde girl in Miami in a convertible wearing
a rainbow bikini. She was screaming `Towa, Towa' and followed us all
day. Strange.'

Tell me about the solo work you have done since Deee-Lite?

`I try to produce material that is futuristic. Although `Last Century
Modern' was released last year there is nothing like it out there.
The varied mix on the album is about me and I try to be different
with all the work I have done. I think you can see that from my work
with the Jungle Brothers, Deee-Lite and earlier albums. People like
to categorise music but I think it's difficult to categorise my
music. It is important to satisfy my fans, but it is more important
for me to satisfy myself.'

How do you see yourself culturally?

`Even though I lived in New York for eight years and sometimes
dreamed in English, my first language is Japanese. I definitely dream
in Japanese now. I'm a Korean citizen but have never been there. I
think culturally I am Japanese but my records have gotten me into
places where I couldn't have otherwise gone.'


What's next?

`I'm working on three/four albums, two of which are mine. They're
called `Audio Sex' and under the artist name `Sweet Robots Against
the Machine' The first album is only available in Japan but I'm
working on the second at the moment. Sometimes I think the `machine'
is me and all I'm trying to do is make music, all forms of music. As
a solo artist I realise there are some limits but my aim is to retain
a high level of quality in all my music. Craig David came over to a
club I was playing at in Japan a few weeks ago. I love his sound and
he started to mc alongside me. Something like that could be possible.'

`Since giving out that very first card, I have learned many things
about production and people's perceptions. Sometimes I am raw, and
raw stuff can be good, you know like sushi.'

http://www.clubbing.com/guest/guest3.asp

Trombonist Fred Wesley, probably James Brown's and
Parliafunkadelicment's most influential horn arranger, released his
first jazz album NEW FRIENDS in 1991.

He was one of the artist's who appeared on the World Clique album as
a guest. Here's a part from an interview done in 1991 with Wesley:

New Funk Times: Jumping to the present: How was working with Deee-
Lite?

Fred Wesley: Oh, that was a lot of fun. They're kids, they all have a
lot of respect for the things we did in the early '70s and the
late '60s, and they put the music together in a new way. It's
interesting, it's creative, and it's what's happening now. And I was
gratified that they even wanted me to play on their album.

For full interview, you can check:
http://www.funky-stuff.com/Wesley/interview.htm

HELLO EVERYBODY!
    Last month searching on the net for deee-lite and Lady kier
stuff...I've found an interesting video featuring lady kier and supa
dj dmitri...i think it is around 1992 ... they are dancing on a stage
on some discoteque called FUNTONE in nyc...I love very much
this video...kier looks very nice...Hope you all enjoy the video that
it is posible to download...SORRY FOR MY ENGLISH...I'm from
Barcelona....spain...
   Many thanks to the moderator for openning this GROUP
   BIG KISSSSSSSSES

http://www.bettyjack.com/funtone/videoarcade/WhatAmIGonnaDo
.mov

Hello and welcome to the new members.

I'd like to bring your attention to the fact that there are the five
Deee-Lite videos in streaming format which can be found in
http://launch.yahoo.com.

They are:
Groove is in the Heart
Power of Love
Good Beat
Runaway
Picnic in the Summertime

Due to legal mumbo jumbo, Launch supplies them only in streaming
format and does not enable downloads. Well, that just sucks for
people who were not able to record them on a VHS tape when they came
out, and sucks even worse for people who might not have seen all
their videos. Nowadays, you're lucky even if you catch Groove is in
the Heart on VH1 or something.

However....did you know that you actually can download those five
videos through the use of third party programs? What's even better is
that they are each around 10 MBs.

More information can be supplied on this matter if requested, ;)

Hakan

Did anybody else notice that Moby didn't credit Deee-Lite on his
song "Let's Go Free" from the "Everything is Wrong" album which was
obviously sampled from "Runaway" on the "Infinity Within" album.
That's just wrong. Way to s l o w t h e r e c o r d d o w n and add a
beat Moby...whish I could do that and make money at it.

Hey whats goin on? I'm gonna help get this group started off rite by
giving you hundreds of pics...

Jun 13, 1991

Deee-Lite feat. Bootsy Collins (*not* the whole Rubber Band) will
visit the following cities:

06/22: Hamburg/Germany
06/24: Berlin/Germany
06/25: Cologne/Germany
06/26: Munich/Germany
06/28: Roskilde/Denmark
06/29: Turku/Sweden
06/30: Winston Legend Festival (no idea where that is)
07/02: Madrid/Spain
07/03: Valencia/Spain
07/04: Encolada (Barcelona)/Spain
07/06: Tourhout Festival/Netherlands (?)
07/09: Montreux/Switzerland (the same night as Clinton - do I smell
        a jam session?)
07/10: Rimini/Italy
07/12 + 13: London/Great Britain (Brixton Academy)
07/14 + 15: additional dates in Great Britain are possible

DEEE LITE WITH BOOTSY COLLINS
Jul 9, 1991
Casino

Kier Kirby  (voc)
Dmitry Brill (voc)
William (Bootsy) Collins (b)
Robyn Lobe (perc)
Roger Parker (dr)
Trey Stone (kbds)
Mike Hampton (g)
Barbara Tucker (dance)
Zhana Saunders (dance)


1. Deee Lite Theme !Larsen! (02:45)
2. World Clique (04:22)
3. What Is Love (04:18)
4. Who Was That (03:14)
5. Groove Is In The Heart (10:36)
6. Deep Ending (05:20)
7. Smile On !Larsen! (03:51)
7. Funky (04:41)
8. Good Beat (08:31)
9. Solo Drums & Perc. (02:51)
10. Power Of Love (08:34)

Some 1994 concerts:

10 Dec  DEEE-LITE  Helsinki (FI) Vanha Ylioppilastalo-Gamla
Studenthuset
11 Dec  DEEE-LITE  Gothenburg (SE) Cue Club

Two dates and venues have so far been found:

23 June 1995 - OFFSPRING/DEEE-LITE/LENINGRAD COWBOYS + others
Hollola (FI), Messila, Messilan Juhannus

24 June 1995 - DEEE-LITE + others  Joensuu (FI) , Joensuun Laulujuhlat

For those that might not know, there was a movie called "Strange
Attractor", which starred Lady Kier and was released as DVD a few
months ago. Here is an article I found talking about the movie and
Lady Kier's role in it.

http://www.fringecore.com/magazine/m1-4.html

STRANGE ATTRACTOR

Is there a main content theme or is it predominantly a science
fiction dreamscape?

STRANGE ATTRACTOR is a science fiction film which presents a
psychedelic inversion of the ADAM & EVE story.
"Strange Attractors" attract exotic, illegal, or inaccessible data
streams from a WORLD WIDE WEB of the near future. They synchronize
their nervous systems with their computers using trance-inducing
techniques and they usually work as couples.
The story is presented as a series of image and data packets from a
digital dream diary and concerns a woman's search for and seduction
of her lover. He has been stranded on-line for days and has forgotten
where his body is.


I understand that the technology used is cutting edge, are there any
unique effects being used?

What is unique about STRANGE ATTRACTOR is that it is using cutting
edge graphic techniques to convey a complex and subtle story in a way
that would be inconceivable with conventional film technology. As
artists, we are more indebted to radical comic design, rave
invitations, and light shows than to contemporary film models. We are
deliberately trying to develop a new visual language, using
computers, that will have the richness and energy needed to convey
unordinary states of awareness, especially lucid dreaming and
tripping.


What is Terence's role?

TERENCE plays the role of a neuro-botanist that has been working with
an obscure group in the Middle East to develop BOTANICAL SIMULATIONS
for use on-line that evoke psychedelic and entheogenic experiences
using subliminal light and sound patterns. He role is essentially an
elaboration of his real life and persona, which is true of every
character in the movie.


Does Lady Miss Kier sing in the film or act with her music in the
soundbed? Was it her first acting role?

LADY KIER graciously appears as herself in the film and as sister of
the story's protagonist. As well as her acting, she contributed
performance footage from her post-DEEE*LITE solo gigs. She embodies
an urban fairy with a conspicuous attitude.


Is the entire story played out on the Web?

Since STRANGE ATTRACTOR is a dream diary, the issue of "point of
view" remains somewhat ambiguous, as does the relationship between
reality and dreaming. The story is presented as a series of
datastreams sent to a woman while she is conducting a moon ritual
from a lucid dreamstate.


Is it still planned for release in September to coincide with the
launch of Lady Miss Kier's new album?

We expect to finish STRANGE ATTRACTOR by this October and schedules
are anything but certain in the music and film industries.


The soundbed/music is by A Guy Called Gerald, any more details?

We were introduced to GERALD by KIER. He has proven a perfect fit for
our project. His songs carry oceans of tenderness and sensual
delight, all supported within high-tension rhythm nets and ever
surprising jewel-moments.

Deee-lite feat. Bootsy & Michael Hampton

??/01/91 - Rio de Janeiro,Brazil - Estadio Maracana
09/05/91 - ?
05/07/91 - Amsterdam, NT - Paradiso
10/07/91 - Montreux, SWI - Jazz festival

Dj Dmitry's album "Scream of Conciousness" was released in November
21, 2001. Below is an article promoting this album and talking about
Deee-Lite, as well.

http://www.elitemm.co.uk/dmitry.shtml

"I expect to surprise people who haven't been following my DJ career.
This release (Scream of Consciousness on TVT Records) will redefine
my work both as a DJ and producer," says Supa DJ Dmitry. It may well
be an understatement. If the last you heard of Dmitry, his seminal
dance outfit Deee-Lite was breaking up, it's time you did some
updating. The DJ has been busy making tracks and playing for some of
the world's top clubs since the trio disbanded.

Scream of Consciousness - Dmitry's new mix and solo debut - is an
eclectic and funky techno, house and electro collage that features
three of his own tracks and three of his remixes. Dmitry had a
trained musical lineage well before forming Deee-Lite. Growing up in
th Ukraine, he was taught by his mother, who is a classical pianist.
At the age of seven, she enrolled him in an experimental program for
children in the college where she worked and there he studied music
history, theory and composition. This started a life-long love affair
with music.

After moving stateside to Manhattan in 1981, Dmitry started going to
clubs such as the Paradise Garage and living in this new found dance
culture. "That really made me want to start DJing. Well, first it
made me want to start buying records, and mix them together. It was
pretty funny because when I started DJing, for the first year I
didn't have a table for my turntables. I'd put them on the floor and
spin lying down," laughs Dmitry. "One of the decks had pitch control
and one didn't..." Early on he was immersed not only in this
burgeoning new dance culture, but also the electronic sounds of group
such as Kraftwerk and Yellow Magic Orchestra and the new sounds of
hip hop. He began to DJ out and worked at NYC hotspots such as
Afrosheen, The Red Zone, NASA at The Shelter and The World, one of
New York's first house music clubs. And then came the blow-up success
of Deee-Lite, which brought dance music to a new plateau.

Deee-Lite had one of the few crossover sounds on the dancefloor,
producing 4 albums and 11 number one chart hits globally, including
the club, then radio, then MTV monster "Groove is in the Heart". When
the group disbanded in '95, Dmitry decided to continue on DJing. "It
made me want to do music even more, just go back to the underground.
It's always been my place. DJing is a great, great gift and a hell of
a job." Dmitry went on to tour the dance scene, moving crowds around
the globe from Hong Kong to Jerusalem and from Berlin's Love Parade
to Brazil's Rock in Rio. In '98 he was given DJ of the Year award on
Spanish television in the party capital of the world, Ibiza. And when
he wasn't busy spinning three or four nights a week, he found time to
experiment with singer Julee Cruise, and together they wrote a song
for the soundtrack of the hit movie Scream and two of the songs
included on the upcoming CD. Dmitry also logged plenty of studio time
remixing a wide array of artistes including Sinead O'Connor, Q-Tip,
Ultra Nate, The Jungle Brothers and Karen Finlay. Dmitry's influenced
by many different types of music. "I am just as inspired by Aphex
Twin and Senor Coconut as I am by P-Funk and Louis Armstrong. The
biggest inspiration has always been the dancefloor and some of my
favourite producers like Timo Maas, Steve Stoll, Luke Slater, John
Selway and Christian Vogel are featured on the CD." "I'm looking
forward," says Dmitry. "I am very proud of the past, but it can be a
barrier. People have certain expectations, and when they think Deee-
Lite, they think melodic house and vocals. That's not where I am now
at all. Music has evolved with time and so have I."

Scream of Consciousness shows a creative and talented DJ, unfettered
by expectation. "Space Oddity" is a Dmitry-produced, Cruise-sung
cover of the famous Bowie track, while his "Singularity" encaptures
Dmitry's musical inspiration, seamlessly blending electro, house,
drum 'n' bass and techno. The album's lead single, "Don't Talk Me
Down", explores new sonic and thematic territory and with Cruise's
ethereal and humorous vocals, ensures an overwhelming dancefloor
appeal. Also included is a stunning remix he did of Josh
Wink's "Sixth Sense", that put singer Ursula Rucker's sultry voice to
even greater use than in the original. And he closes the whole affair
appropriately, perfectly, with what he calls "a nod to my past" - his
never-before-released remix of the Deee-Lite classic "What Is Love?"
With respect for things past, Scream of Consciousness commences a
bright new beginning for Supa DJ Dmitry.

MASTERMIX TOUR
featuring Supa DJ Dmitry, Juan Atkins, Frontside, Expansion Union.
Friday, July 30 1999. Industry, 901 King W.


One day before this tour, there was an article in which Supa DJ
Dmitry explains stuff about Deee-Lite.

http://www.eye.net/eye/issue/issue_07.29.99/thebeat/mastermix.html

Supa DJ Dmitry is on the line from Seattle, explaining why his cosmic
blend of beats, love and unity hasn't been heard on Canadian soil
since 1994. "There were some problems I'm not going to get into right
now," says the supa one. Any long-form questions are met with this
response, but the affable Dmitry -- one of the few men in the music
biz that could make payots look adorable -- bubbles with an
effervescence that affirms his rebirth as a creative force.

Dmitry's Toronto history dates back to the mid-'80s, when he
inaugurated Rock 'n' Roll Fag Bar, a rarified mix that brought
together the Jackson Five, Kraftwerk and Tom Jones. This postmodern
formula -- everything old is new again! -- hardly seems daring now,
but to a dance scene stumbling on its last legs, it was a breath of
fresh air.

The essence of this New York-born event was parlayed into the
formation of Deee-Lite. As much a "band" as a happening, Deee-Lite's
worldly view of bubblegum and house music mixed the sensibilities of
Russian émigré Dmitry Brill, Japanese sound surgeon Towa Tei and
brassy American chanteuse Lady Kier Kirby. The resulting hybrid
of '70s AM radio soul and sampledelia was at least partly responsible
for bringing the funk back to suburban white kids via their one
massive hit, "Groove Is in the Heart."

Flash-forward only four years and see Deee-Lite struggling against
the delete bin with their luminous third and final outing, Dewdrops
in the Garden. The Clash and Earth, Wind and Fire samples helped
ignite Deee-Lite's utopia, where phones are never busy ("Why don't
you get call-waiting or something?") and a direct link to the
dancefloor is as close as the living room studio.

"It was the first record I would make in my house. It revolutionized
everything," Dmitry says of Dewdrops. "Towa collaborated until this
album. He had just moved to Japan, and the long-distance thing wasn't
working too well. Ani [DJ On-E] collaborated on this album as well,
so that was a really good, new influence. The programming, the songs
and the arrangements were my department. Kier was really active in
collecting samples. I can't take credit for it alone."

On Deee-Lite's final tour, Dmitry and Ani shared turntable duties at
a rave extravaganza that transformed a north-end ski chalet called
the Honeypot into an outer-space landing pod. "Kier moved to London,
so the geographic thing has not worked in our favour," says
Dmitry. "She used to be my girlfriend and then we broke up and blah,
blah, blah." And thus ended Deee-Lite.

Dmitry's past five years have been filled with bouncing around the
globe and DJing wherever there was electricity. His skills as a
spinner of vinyl will be on display as the MasterMix Tour brings him
to Industry Friday. The tour package also brings along the inspiring
Juan Atkins, who's responsible for the first in the MasterMix CD
series -- a cut-and-paste of his own and other tracks that's not to
be confused with the rather lame cash-grab Wax Trax! compilation
(entitled, natch, MasterMix) that precedes this visit.

Dmitry supplies Vol. 3 (subtitled Scream of Consciousness) with six
cuts, two of which feature Julee Cruise, the breathy, vapour-like
voice that helped create the otherworldly environs of Twin Peaks. "I
really like working with Julee," says Dmitry. "One song is a
straightforward club track with Julee making a poem, which is quite
funny. The other is a cover of David Bowie's 'Space Oddity.' Julee
did a fantastic job on that. I approached it with trepidation, but it
worked out really good."

Cruise will guest on DJ Dmitry's first solo album, out later this
year -- hopefully sharing vocal duties with Dmitry himself, whose
basso profundo, Gainsbourg-like honey flowed on his star turn on
Ryuichi Sakamoto's Heartbeat album.

I have gathered, through the archives, set dates and venues for Lady
Kier performances since 1999. I present them below, but I do remind
you that I do not have complete information as to whether any dates
were changed or any shows cancelled.

01 Nov 03: Dresden, Germany
13 Sep 03: Dresden, Germany
12 Sep 03: Bochum, Germany
02 Aug 03: Paradiso, Amsterdam, Holland
31 Jul 03: UG Club, Zurich, Switzerland
19 Jul 03: The Arches, Glasgow, Scotland
12 Jul 03: Pool Bar, Feldkirch, Austria
21 Jun 03: Kerosin, Augsburg, Germany
14 Jun 03: China Lounge, Hamburg, Germany
13 Jun 03: Jena, Airport, Germany
05 Jun 03: Never mind the neighbours, Substation South, Brixton,
London UK
31 May 03: Dreamland, Zurich
30 May 03: Nag Nag Nag @ The Egg, London
24 May 03: Zitadele, Mainz, Germany
23 May 03: Moodclub, Karlsruhe, Germany
17 May 03: Auditorio de Tenerife, Santa Cruz de Tenerife
01 May 03: Never mind the neighbours, Substation South, Brixton,
London UK
25 Apr 03: Cibeles, Barcelona, Spain
12 Apr 03: Lydmar, Stockholm, Sweden
11 Apr 03: Vega, Copenhagen, Denmark
05 Apr 03: Medicine Bar, Shoreditch, London
29 Mar 03: Onegin, St Petersburg, Russia
28 Mar 03: Kuznetsky Prospect, Shambala, Moscow
16 Mar 03: Public Spirit @ Cork Opera House, Cork, Ireland
06 Mar 03: Never mind the neighbours, Brixton, London UK

NOTE: DJ dates between Aug 19, 2002 - Mar 05, 2003 are currently not
available. I will try to obtain them.

Stafford, UK @ V2002 Festival Aug 18 2002
Chelmsford, UK @ V2002 Festival Aug 17 2002
Dublin, Ireland @ Witness Festival Jul 14 2002
London, UK @ 333 (Menage a trois) Jun 7 2002
Belfast, N Ireland @ La Menagerie May 11 2002
Paris, France @ La Locomotive, May 3 2002
Warsaw @ Pierkarnia, Apr 6 2002
Newcastle, Traveller @ Reds, Feb 1 2002

London, Menage a trois @ 333, Sep 7 2001
Thesaloniki, Greece @ Art House  Jun 9 2001
Heraclion, Greece @ Club Prime - Jun 8 2001
Hamburg @ Old City Hall, Börsenbrücke 10, 20457
Hamburg - 5 May 2001
Seattle @ Last Supper Club - Apr 21 2001
Next @ Denver - Apr 20 2001
Soma @ Boulder - Apr 18 2001
WMC Miami - Ultra 3 Festival, Bayfront Park - Mar 24 2001
Austria @ Conrad Sohm - Feb 10 2001
Germany @ Metro, Friedrichshafen - Feb 09 2001
Westend Club, LA - Jan 26 2001
Slamdance Film Festival, Utah - Jan 2001

Chicago @ Congress Theater - Dec 9 2000
Philadelphia @ Evolution - Dec 8 2000
Syracuse @ Trexx - Nov 30 2000
Dallas @ Liquid - Nov 23 2000
West Palm Beach @ Respectables - Nov 22 2000
Lucerne, Switzerland Oct 21 2000 (venue TBC)
London: Apocalypse @ Home - Sep 19 '2000
L.A: Viper room - Aug 22 '2000
Hawaii : Honolulu @ Eye - Aug 18 '2000
Philly @ Shampoo : PA - Aug 12 '2000
Atlanta @ Masquerade - Aug 11'2000
Cincinnatti @ Lift- Aug 10'2000
Washington DC @ Mango nation - Aug 09 '2000
Cleveland : Ohio - June 17 '2000
Phoenix : Arizona - June 16 '2000
Toronto @ Club Shanghai : Canada - Mar 31 '2000
Fourt Lauderdale @ Chili Pepper : USA - Mar 29 '2000

Charlotte @ Club 4369 : NC - Nov 27 '99
Jacksonville : USA @ Club. 5 - Nov 26 '99
Milwakki @ Tom Tom Club - Nov 24 '99
Philly @ club Fuid - Nov 21 '99
Puerto Rico : La Cueva de Camuy - Nov 19 '99
Boulder : USA @ Club. Soma - Nov 16 '99
Rimini : Italy - Nov 4 '99
New Orleans : USA - Oct 30 '99
Chicago : USA @ club. Aura - Oct 29 '99
Philadelphia : USA @ Club. Shampoo -Oct 28 '99
Chicago : USA - August 20 '99
Philadelphia : USA - August 19 '99
Edinburgh : Scotland - June 26 '99

Friday, Mar. 28, 2003.

Lady Miss Kier Plays Shambala

The Moscow Times

For MT

Best known for her part in Deee-lite's smash hit "Groove Is in the
Heart," Lady Miss Kier is today a DJ.


If you're hoping to hear "Groove Is in the Heart" at Lady Miss Kier's
single Moscow show Friday night, you'll be disappointed.

Lady Miss Kier doesn't sing that song -- the 1990 dancefloor anthem
her now-defunct techno trio Deee-lite is best known for -- anymore.

Although Lady Miss Kier first made her name on the late 1980s New
York club scene with Deee-lite -- with Kier on vocals, Super DJ
Dmitry on guitar and Jungle DJ Towa on keyboards -- her current
routine today consists of DJing only: spinning tunes not far removed
from Deee-lite's eclectic repertoire, of break, funk, house, jazz,
reggae, contemporary dance and r&b.

A DJ since 1997, Lady Miss Kier (her real name is Kier Kirby), DJs a
funky house and lounge set at the super-exclusive Shambala DJ bar on
Friday. Although she has yet to release a solo album, Kier -- whose
Moscow show is part of a several-month-long European club tour that
ends in London in May -- regularly contributes tracks to releases by
other artists. Her solo CD is due for release later this year.

Deee-lite disbanded in 1996, after two disappointing follow-up albums
to 1990's "World Clique," which contained the hit song "Groove Is in
the Heart." The group had had six number-one hits in the United
States before 1996, and had made a name for itself for more than just
combining the music genres of techno, funk and soul, but also for
tossing more than a pinch of social consciousness into the mix.
Throughout the early 1990s, Kier spiced up her lyrics with none-too-
subtle messages about environmentalism and world peace.

In 1997, Kier moved to London, where she launched an independent
record label called B.I.T.C.H., or Being In Technological Courageous
Harmony, and began composing her own tracks and producing music in
conjunction with other artists, including Bootsy Collins and DJ Krust.


Lady Miss Kier performs at 10 p.m. on Friday at Shambala DJ, located
at 3 Kuznetsky Most, Bldg. 3. Metro Teatralnaya. Tel. 927-8727. Note
that Shambala DJ has very strict door control and that reservations
are strongly recommended.


Source: http://www.themoscowtimes.com/stories/2003/03/28/102.html

January 20, 2001

Lady Kier was the guest DJ for the opening night of the Slamdance
Film Festival in 2001, held in Park City, Utah. Below

"Just minutes after the last particle boards were nailed into place,
the 2001 fest got underway in its grand new screening room (210
seats, up 80 from the previous venue) at the Silvermine. Filmmakers,
their posses, sponsors, staff, firemen, DJ Lady Kier, and various
others gathered for introductions and anecdotes. Fest heads, Peter
Baxter and Dan Mirvish thanked staff, audiences, and encouraged
filmmakers not to be shy about using the fest's resources, and
participate in creating the kind of community here in Park City that
would match their greatest expectations."

http://www.slamdance.com/

Lady Kier was DJing 5 years ago on July 17, 1998 in a place called
Shampooooo. By coincidence, I was able to find the views of someone
who attended the party. You can find it below:

----------------------------------------------------------------------
Humidity, sweat all over..., sauna-like atmosphere, bodies moving
back and
forth, lots of bodies. Lights; red, blue, yellow, white, green,
flashing.
The bass vibrating bodies, the high end sizzling with the rhythms of
hi-hats
and tambourines.
The snare was driving. Boom-ka, BoomBoom-KA....Boom-Ka, BoomBoom-KA.

Through the swarm of people, three fellows passed by me and the first
one
turned to his friend following behind, "What!?!?" in
disbelief, "That's a
girl?!?!"

He was referring to the DJ, Lady Miss Kier. She was spinning hard
hitting,
nearly industrial Drum n Bass.

She was spinning in the White room, the smaller room adjacent to the
main
floor.
She had taken over from resident mix master, Dozia minutes before 1
am.
Shortly after she began, word caught in the main room, and the masses
packed
into the room. The temperature began climbing just as quickly. Lady
Kier had
a microphone and sang along with her new material that she spun. She
interacted very well with the people.

It was great to see so many people having a terrific time, not to
mention that
it was a gas to see these people dance to drum n bass when most
certainly they
were conditioned to much slower house grooves. Hopefully this will
spark more
interest in other forms of electronic dance music.

Lots of folk from all sorts of music "scenez" (yes I hate that word)
were
present, even our VESAGO host, Octavio, and ex-Asylum DJ Eors. I even
saw my
friend Kevin from the old school punk/ alternative scene.

I was grabbed by my friend, Christian, who pulled me toward the side
in the
hallway toward the stage.... The cold rush of air was thoroughly
euphoric
after having spent an hour hydrating in the middle of the dance floor.
Minutes later there was a mad rush of people and security guards
headed down
the hallway toward the main floor. After gathering that Kier had just
squeaked by and that she would be spinning yet another set, our crew
promptly
relocated to the room to watch and listen.

After a few moments, she took the spinmeister role once more. People
were
going mad, and I mean this in a happy, positive way. I kept giggling
thinking
how cool it was that such good music would be received with such a
wondrous
response. It was awesome (I wanted to use an 80s word).

"3:25," I responded to my friend when asked for the time. Kier was
dancing in
the Booth...plopping on record after record, singing to everyone, and
having a
good time doing it!!! The floor was still quite packed.

Finally at quarter to 4, they pulled up all the lights and politely
kicked
everyone out of the club.

We then went on to my old pal Nick's casa, where Kier was staying.
She was
pleasant and we discussed lots of music issues, including the fact
that we
both agree the majors have been handling some major talent in the
electronic
world poorly.
I thought it was horrrrrrrrrrrrrrrrendous that the folk at Elektra
had been so
unsupportive of her last four musical endeavors. They did not even
come out
to see her during the ENIT festival, nor even give her any tour
support. How
about that? A band who's music can heard almost anywhere on any given
night,
or day.

She is planning on starting her own label, BITCH (Beauty In Total
Control
Herself). This will happen once her new material has been released on
Elektra
and she has moved back to London. Expect a release date of January
1999. She
was a Deeeeelite to talk with as well as her bonus points for digging
my drum
n bass cover of THE CURE's 'A FOREST'.

Check her out next time she comes 'round!!!
----------------------------------------------------------------------

As part of the history of Deee-Lite, the group also collects
information on where Deee-Lite was on a particular date. Here is the
first of these information.

Saturday Night Live Season 16: 1990-1991

February 16, 1991
Host(s):Roseanne Barr
Musical Guest(s):Deee-Lite, Bootsy Collins, The Rubber Band

It was show number 677.

Q: That's what I wanted to ask you. You will be forty-six, two weeks
from now, on October 26. Congratulations in advance! Now, I'm not
saying that you're old, certainly not in the negative meaning of the
word, but have you ever felt that you've grown out of wearing those
star-glasses, the costumes and all that wild Bootsy gear? I mean, do
you ever think to yourself "I'll better dump these accessories
because I wanna be seen as a dead serious musician"?

A: Umm.. Not really. Not like that. I've thought maybe of getting
younger artists out doing stuff, like I used to do a lot of. I don't
wanna do it day in and day out like I used to, but I still wanna do
it. I'd like to have younger people around me and that I'll be
involved with them a lot more now, as opposed to me being the main
focal point. I like being out front, doing what I do, but then I also
like playing in a band too. I'd like to do stuff like I did with Deee-
lite. I went out and played with them and they were the stars, that
was cool. I wanna keep creating those situations for myself so I
don't have to be out front all the time. Then when I do have to be
out front, I can do it to the max. It's one of those things where you
have to create situations that'll keep you out there as long as
possible.


You can find the full interview at:

http://w1.837.telia.com/~u83704140/bootsy/

Welcome to the international Yahoo group for Deee-Lite fans around
the world, called "Global Deee-Lite Fans".

The group aims to serve as a meeting place for fans who have enjoyed
the unofficial homepage which can be found at:

http://www.haktanir.org/deee-lite/


The group is mainly concerned with two things:

1. Memories and Views

    When/where/how did you first hear about the band, what did you
think about their songs and videos, who was your favorite band
members, etc.

    In other words, we want to know about YOUR thoughts and memories.

2. Past and Present History

    The other thing the group aims to collect is any kind of
information that can be found in articles, interviews, news, etc.
about the past of Deee-Lite and its members and/or their present work.

    In other words, this second part aims to collect information from
sources such as the Internet, old magazines, old TV shows you might
have recorded, etc.


We are not obsessed with having a large group. What is more important
is that we form some connection and make new friends. Moreover, we
also want to form a large collection of Deee-Lite information that
might not be found elsewhere.

Hoping that you'll join our Deee-Liteful Experience,

Hakan