Stacey Robinson: Oh, you're way underselling it! I actually met Kamau’s wife first, and she was like, “You're interested in DJing? You need to meet my husband,” and then I found out that he was part of this trio that was creating the house music scene—one of the premiere house music scenes—in the Champaign-Urbana community, and at this time, I had just gotten this job at University of Illinois. I had wanted to DJ—it was a deferred dream, like, for thirty years almost at this point, and now I could afford to actually buy DJ equipment: “I put my finances in order. My children's education is paid for. I have a reliable vehicle. I think it's time for me to buy some DJ equipment.” Around this time Kamau was DJing a show in the art building right down the hall from my office, and he was like, “Dude, you want to get on? This is what you do…” And of course, I was totally jacking up stuff.
KG: No, no, that's—I don't remember that.
SR: But here's the thing: the audience didn't care, because they were there to look at art. They were drinking wine and looking at art, so nobody was really paying attention to the beats at all, but it created that buzz that was insatiable. Imagine that finally I can live my thirty-year-old deferred dream? One of my first loves has always been music. Every time I make art, I'm listening to music. There's an auditory element, artistically. I'm now just thirty years later at fifty, mid-forties–fifty, figuring out how to connect this in this way. Now it's the sound that I want to put to the artwork, and Kamau and I are very similar in this.