Taken from this excellent compilation...
http://www.discogs.com/Various-The-El...
Biography: Stacey Pullen
Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world's most in demand DJs, playing weekly across the globe year in, year out. With a font of passion for music and performance that never dries up, Stacey Pullen still plays every gig from the heart seeking to surprise and engage, to provide an unforgettable experience, to offer up his unique catalogue without predictability - defying expectation. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator.
From the age of 9, playing flute in his school band, Stacey has always been playing musical instruments. Throughout his school years, he developed a fantastic groundwork in analogue instruments and performance, moving from flute to his self-taught next choice of percussion. In his final years at school he found himself traveling around to a lot of cities in the USA playing in school bands, which gave him a taste of -- and preparation for -- the traveling involved in life as a musician. He had also seen and been prepared for a musician's life from watching his father who was in a Motown band called the Capitals in the 1970's, filling much of Stacey's childhood with observations of a life dedicated to music and travel.
Around 1985, while Stacey was still drumming and traveling with his high school band, the Detroit Techno movement was born, and provided a revolutionary sound to the youth of Detroit. The Electrifying Mojo filled the airwaves with this radicalism through new electronic rhythms, and showed a generation or more of musicians and DJs what true musical eclecticism means. Jeff Mills began to take musical technology to new levels redefining the borders between DJing and production in a way which had never been done before. DJs in Chicago like Farley Jackmaster Funk, Ralph Rosario and JM Silk were spinning proto-Chicago tunes on WBMX and Hotmix: they were the leaders of the new school of black music. The youth of Detroit, including Stacey, were listening and learning.
Stacey Pullen and some friends from his band took their cue from these musical leaders and began to experiment with turntables and a mixer. He would -- as have many aspiring DJs since -- spend his allowance on records and go hungry, going straight from school to the house of his friend who had equipment. He also started clubbing around the age of 15, the first club he frequented was called 'The Primadonna', the first DJ he remembered was a local legend called Alan Ester and the first music he was clubbing to was called 'Progressive Music' -- not in the sense of the word that we currently understand, but because, in Stacey's words "back then the music we called house music, techno, was also called progressive music -- the meaning of 'progressive' was a futuristic way of thinking about music. That was what we called progressive. Back then for party music in Detroit only hip hop was big - music like techno was progressive then."
His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn't remember much about the music, but he certainly does remember the experience:
"It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet - to have that power and make people respond to the music that we played."
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http://www.staceypullen.com/stacey_pu...
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