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斯坦·道格拉斯：

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我高中毕业后的第一份工作是迎宾员

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在一家剧院

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第二份工作是DJ

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我在一家叫“面孔”的俱乐部工作了两年

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那个时候，DJ都不怎么有名

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你就坐在后面的一个小隔间里

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有人会过来要你放迈克尔·杰克逊的歌

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然后我就会去美国一个叫塔科马港的地方

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在边境那里有个基地

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这个陆军基地有很多黑人

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他们那里有很多唱片店有朋克和嘻哈音乐

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这些你在温哥华是找不到的

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所以我像个朝圣者一样去那里淘唱片

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我做的是在我的卡带机上做磁带暂停

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然后学习做Grandmixer DST's音节

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与赫比·汉考克的狂野音乐和摇滚音乐混音

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没人知道我混音的音乐是什么

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所以他们也不知道我做的就是混音

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混音带是一个漏洞，它让人们

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找回那种做正确事情的感觉

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这也用在真实的文化媒体方面

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以一个原材料去加工新的事物

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”罗安达-金沙萨“这个视频

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是我看了迈尔斯·戴维斯70年代的作品之后的灵感

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我一直以来最喜欢的一个唱片是他的《On the Corner》

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他把朋克和摇滚融合进了爵士音乐

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他也在尝试把印度音乐的元素融进音乐里

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而且觉得这是一个能与孩子们的一起玩的打击乐

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但是，当然了，那是他卖得最差的一张唱片

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但从音乐角度来说这张唱片很棒

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也是在那个时候

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玛努·迪班哥制作了一首叫《Soul Makossa》的歌

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那对纽约所有的地下disco音乐人都是一个沉重的打击

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那如果把非洲节拍

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