If you see Barclay Crenshaw in a room of 100 people, chances are the only name those people call him (and know him by, for that matter) is Claude Vonstroke. Hailing from Detroit, Mr. Vonstroke began his DJing career a bit later than usual, which makes him cherish how lucky he is to have such a cool gig. Claude was able to take a few minutes to chat with RDW before making his way from sunny San Fran to the D to present Dirty Bird at Bleu's official Movement after party on 5/29.

You started your DJing career a little bit later than is typical these days. Why branch off from film to DJ and produce?

I did film production and editing and behind the scenes stuff. I always made music I just never saw the path in front of me of how to become a full time music person. I didn't see it as possible to do it. I saw some DJs and thought, "Hmm it may be possible," and I made a track and it started snowballing, and I saved up a whole bunch of money from my real job to do the DJ thing and it just all worked out at the right time... I think it's good that it's later, just on the work ethic end of things I feel like I really knew what it was like to have a job. Not getting big at 19 and never having a job and not knowing how lucky you are.

Are you an old fashioned guy when it comes to DJing or are you into the new technologies they have to mix and record?

I'm a bit of an old fashioned DJ, although I'm not DJing with vinyl that much anymore. I just do one track of a CD, just like it's a record. And I don't use any effects and I don't do beat juggling, I just DJ as an old style DJ. Producing, I can't say the same thing – I really kinda stay on the edge. I'm not programming software but I'm into what things can do and I'm taking classes on software.

What's your opinion on the fact that anyone can start DJing these days because of all the new software and devices?

Well, this shift started a while ago ... okay so back in the day you could become a famous DJ because you were a great DJ. And over the last 10 years, I would say, it shifted to where people get booked because of the music they made and not because of their DJing reputation. And so I feel like the new style of DJing where you can sync up your tracks beforehand and all that is just a by-product of that new era where the promoters and product are here saying, "We're just having you here because you made these tracks and we're hoping you can keep it together when you're up there." I'm not sure I love that, but I see how it happens. I try to be a real DJ, I'll put it that way, but you know what? Production rules nowadays.

Since moving to California have you had any new inspirations for your music?

A little bit. A little more wide open out here I guess. A little more hip-hop influence, that Bay Area hip-hop. Even when I was in Detroit I was making drum 'n' bass, not techno, so I don't know if it was about the city or where I was. I'm never making the right music for the right city. (Laughs)

What's your favorite Movement memory?

Definitely playing. Playing last year was the best, for me. The second time, for some reason, the second time was best for me. The first time was a real honor but I feel like I really killed it the second time more than the first time. The first time I was really like "oh my god, I can't believe this" and the second time I was like "I'm ready to go in and kill this." And it was just super cool and all my friends were there. But before that I'd have to say, I was just hanging out, the very first one I went to was the second one I believe, and we were just waiting there and I wasn't even making music yet believe it or not. We just hung out at the Works til 6 in the morning and all of a sudden Derrick May walked in and played for four hours. That's my best non-Claude Vonstroke moment. It was inspiring. | RDW