MMW Magazine 2019 by Miami Music Week

Contents 07

Director’s Letter

mmw review

33rd Annual International Dance Music Awards (IDMA)

Traxsource Presents: WMC 2019 Ones to Watch

Beatport 2018 U.S. Top Genre

Industry Report: What to Know in 2019

The online music store picks the tracks, artists, and labels heating up this Miami season.

Beatport maps out the growing genres and trends taking over the industry.

Viberate tracks the genre trends and breakout artists to watch this year.

Tech Guide: The Best Gear and Gadgets for 2019

Gear Up, Get Down

Miami Uncovered

DIRECTOR David Ireland

All the essentials and special extras you’ll need to survive this festival season.

The city’s nightlife and industry pros give us their best-kept secrets and must-dos when visiting the Magic City.

WINTER MUSIC CONFERENCE COFOUNDER Bill Kelly

All the top goodies you’ll need to light up late-night dance floors this year.

EDITOR-IN-CHIEF John Ochoa

Go Hard, Stay Healthy

A Global Dance Floor for the Future

Rave New World

Follow this guide to keep your mind, body, and soul in shape during MMW.

The artists and organizations changing the world—one dance floor at a time.

Media theorist, author, and WMC Keynote Speaker Douglas Rushkoff on the evolution of rave and the future of humanity.

Bless This Acid House

America Is Burning

Eat. Sleep. Game. Repeat.

Acid house creator DJ Pierre meets revered ‘90s rave culture author Irvine Welsh.

Producer and artist Divoli S’vere takes us on a ride through the ballroom culture exploding across the States.

Esports expert Chris White on the convergence of gaming and music culture.

ART DIRECTOR Rafael Garcia CONTRIBUTING WRITERS Celia Almeida, Katie Bain, Kat Bein, Jose D. Duran, Michaelangelo Matos, Liz Ohanesian GLOBAL CONFERENCE GROUP, INC. Miami, FL 33131 © 2019 Global Conference Group Inc. All Rights Reserved The reproduction or redistribution of content inside the Miami Music Week print magazine, in whole or in part, is strictly prohibited. To correspond, contribute, critique or learn more, email john@wintermusicconference.com

Director’s Letter An icon is reborn. This March, we are not only celebrating another incredibly stacked Miami Music Week (MMW), but welcoming back the event that started it all: Winter Music Conference (WMC). WMC turns 34 this year, the longest-running conference of its kind in the world—let that sink in a bit. For many of us, this conference is where we started our careers; it was here that the culture of electronic music became an industry and eventually a global phenomenon. Miami in March is the epicenter of all things electronic music, and once again, a place to do business as well as get a taste of what is to come in the season ahead—it’s the kickoff. As with all cultures rooted in music, there have been some ups and downs, but WMC has managed to weather them all—a lighthouse of sorts, guiding us all home to warmer shores and the promise of a new musical harvest. This year, WMC embarks on a new mission as an official member of the MMW family, with a refreshed sense of purpose and new brand pillars that represent today’s dynamic music industry. WMC is now a place for both industry professionals and the next generation that will become tomorrow’s superstar DJs, producers, executives, and thought leaders. Miami Music Week is now complete, the perfect environment for business, embracing the music we love, and reconnecting with the people we only see in email chains the rest of the year—all with the grand finale of Ultra Music Festival. We encourage you to visit the sites (WMC/MMW) and explore all of the diverse programming and events that represent this musical nation of ours. Welcome back to the industry veterans, and a big welcome to those of you taking your first steps into this wonderful world.

David Ireland Director | Miami Music Week | Winter Music Conference Bill Kelly Cofounder | Winter Music Conference

Presents:

WMC 2019 Ones to Watch Traxsource, the Miami-based online DJ shop, knows a thing or two about house music and, more specifically, the sun-drenched Winter Music Conference (WMC). As one of the first online music stores ever launched, Traxsource was born at the onset of the digital revolution in 2004 as a solution to rampant digital piracy: Its founders created the site in order to sell music from their Soulfuric Recordings imprint and battle the disruption caused by the internet. Often described as a “download store with the heart of an independent label,” the site today retains its original ethos and reputation: quality over quantity and substance over hype. Celebrating 15 years as a leader in the independent music scene this October, Traxsource remains at the forefront of cutting-edge house music, with a finger firmly on the pulse. Here, the selectors at Traxsource highlight the key tracks, artists, and labels sure to help you get your WMC Miami groove on.

01 Austin Ato ft. Brushy One String “Oh Mama” [Defected] Scottish producer Austin Ato links up with Jamaican reggae artist Brushy One String on “Oh Mama,” a soulful vocal track, heavy with Afro-esque percussion that’s going to sound superb as the sun goes down on South Beach.

04 Sisto “Come Back to House” [Purveyor Underground] “Come Back to House” is a simple, driving, dance-floor-targeted gem with a sneaky soul sample: five minutes of looping and rolling pure house. Released on Demuir’s label, this one will make the rounds at the pool parties at WMC this year.

07 Yuksek “I Don’t Have A Drum Machine” [Classic Music Company] The glitter ball disco-tastic “I Don’t Have a Drum Machine” is the debut release from Partyfine label boss, composer, and producer Yuksek for Classic Music Company. It has all the ingredients of a feel-good summer anthem.

10 Oliver Dollar & Nils Ohrmann “John’s Church” [Industry Standard] “John’s Church,” from German producers Oliver Dollar and Nils Ohrmann, is a massive gospel house banger with some serious atmosphere. We can’t guarantee it will utterly destroy the dance floor, but let’s just say we expect it to.

02 DISCO TOWN ft. Emory “Music Owns Me” [Mood Funk Records] “Music Owns Me” from DISCO TOWN, aka Angelo Ferreri and Moon Rocket (Raffaele Scoccia), is a perfect blend of contemporary house and soulful vocals, which comes with a big, uplifting piano hook courtesy of Scoccia and deep vocals from Emory. We suspect this release is going to be big.

Jaap Ligthart “All We Can Do” [MoBlack Records] Known for dropping serious anthems, Jaap Ligthart is always going to cause a ripple of excitement, and “All We Can Do” doesn’t disappoint. Its big synth riff, tight tech beats, and layers of pinpoint percussion might just add up to another big hitter for the Dutch DJ/ producer.

05 Various Artists Hand in Hand EP [Keinemusik] The Hand in Hand EP, a super strong fourtracker from the inimitable Keinemusik crew, features massive tracks and edits from Rampa, Reznik, &ME, and Adam Port. If you’re DJing at WMC, you need to get this EP on your USB now.

08 Shawn Christopher “You Can Make It” (Alaia & Gallo Remix) [Soulfuric Recordings] Alaia & Gallo, the Traxsource #1 Tech House Artist and #5 Overall Artist of 2018, have turned in a supa-dope remix of Shawn Christopher’s Soulfuric classic, “You Can Make It,” increasing the temperature and reworking it into a relentless real house stomper, featuring some serious soulful fire from Shawn.

Bobby D’Ambrosio ft. Michelle Weeks “Moment of My Life” (Joey Negro Remix) [Z Records] The unstoppable Joey Negro reworks Bobby D’Ambrosio and Michelle Weeks’ classic house anthem, “Moment of My Life,” giving it an irresistible soulful disco twist that’s perfect for the beach bar or summer night rooftop party.

09 Session Victim ft. Nebraska “Dawn” [Delusions of Grandeur] Session Victim’s Dawn EP, from Freerange sublabel Delusions of Grandeur, features three tracks of sophisticated and pristine deep house, with a late-night, jazzy remix from Sven Weisemann. It’s the perfect soundtrack for hot Miami nights.

Everyone’s favorite online music store picks the tracks, artists, and labels you should be following this Miami season. 13

2018 U.S. Top Genre Trends U.S. genre trends remained fairly consistent for 2018 as

growth of any genre, it rocketed straight to #6 in the

they did in 2017. Tech House continues to dominate the

U.S. after being introduced by Beatport in Q1 of 2018.

U.S. market at #1, while House and Techno come in at #2

Other genres outside of the Top 6 saw slight declines as

and #3, respectively, in 2018, swapping places from 2017.

Tech House, House, and Techno cement themselves as

The most significant change comes with the entry of

the dominating forces in the U.S.

Melodic House & Techno: experiencing the most significant

Beatport Ranking 2017 Q1

2017 Q2

2017 Q3

2017 Q4

2018 Q1

2018 Q2

2018 Q3

2018 Q4

TECH HOUSE

HOUSE

TECHNO

DEEP HOUSE

DRUM & BASS

MELODIC HOUSE & TECHNO

TRANCE

PROGRESSIVE HOUSE

ELECTRONICA/ DOWNTEMPO

FUTURE HOUSE (BREAKS) (ELECTRO HOUSE)

Beatport Top 10 U.S. Genres by Sales

Top 10 U.S. vs. Top 10 E.U.

4% 20%

5% 5% 6%

18%

U.S. Chart

E.U. Chart

By comparison in 2018 sales, the

1. TECH HOUSE

1. TECHNO

E.U. continues to experience total

2. TECHNO

2. TECH HOUSE

3. HOUSE

signs of being overtaken by Tech

4. DEEP HOUSE

House, unlike in the U.S. market.

5. DRUM & BASS

Relative similarities between the

6. TRANCE

6. MELODIC HOUSE & TECHNO

7. PROGRESSIVE HOUSE 8. ELECTRONICA/ DOWNTEMPO

12% 17%

9. MELODIC HOUSE & TECHNO 10. FUTURE HOUSE

7. ELECTRONICA/ DOWNTEMPO

domination by Techno, showing no

E.U. and U.S. continue with slight variation in movement at the bottom of the chart and an increase

8. TRANCE

for Melodic House & Techno across

9. PROGRESSIVE HOUSE

both markets.

10. INDIE DANCE / NU DISCO

The Best Gear and Gadgets for 2019 Technology is at the core of everything we do in electronic music. From booming 808s to intergalactic synthesizers, our culture and our sound are shaped by futuristic instruments and cutting-edge programs that evolve our sonic boundaries and push our creative limits to new heights. Technology is one of the key pillars at this month’s newly relaunched Winter Music Conference (WMC), where some of the leading music production and DJ gear companies are showcasing their newest products. Here, we’ve gathered the best gadgets and goods you’ll need to light up late-night dance floors this year.

Miami Uncovered

LOCAL EXPERTS AND INDUSTRY INSIDERS CHIME IN ON WHERE TO EAT, SHOP, DRINK, AND MORE.

By jose d. duran It’s easy to get lost in the Miami shuffle this time of year when you’re bouncing from party to party. But if you’re coming to Miami and only seeing the inside of a nightclub at 4 am, are you really doing it right? The greater Miami area, home to more than 2.7 million people, offers plenty of premier restaurants, shopping, and nightlife choices. One of the biggest rookie mistakes is never exploring the city beyond South

Sam Baum Director of Culture Marketing for Red Bull

Veronica Gessa Art director for A Club Called Rhonda

Danny Daze Omnidisc founder and DJ/producer

Enriqueta’s 186 NE 29th St. Miami 33137 305-573-4681

Enriqueta’s gets bonus points for its incredible guava y queso Cuban pastries and the fact that it made a gentrifying apartment literally build around it by not selling to the developers. The walk-up window is a place to order quickly, and you will usually hear some gossip from the random mix of locals posted up. Colada is the way to go: It’s essentially a small cup of Cuban jet fuel you can share with your friends via the thimble-sized tiny cups it comes with.

Shoe Gallery 244 NE First Ave. Miami 33132 305-371-2063

Shoe Gallery in downtown is one of the best streetwear stores on the East Coast, no cap, and has exclusive sneakers and local designers. Ask the well-versed staff, they’ll point them out—bumping hiphop mixtapes, special collabs, and some lux gear, too. You’ll often run into Dwyane Wade, Rick Ross, or J Balvin copping in here. shoegallerymiami.com The Standard Spa, Miami Beach 40 Island Ave. Miami Beach 33139 305-673-1717 Hands down, the Standard is my ultimate decompression spot. Its pool has soothing underwater music, like Air or Thievery Corporation. The best cure for a hangover is one of its Frozé cocktails and an order of the tater tots with garlic aioli. You also get full access to their spa, which has the best hammam and steam room. standardhotels.com

Floyd 34 NE 11th St. Miami 33132 786-618-9447

Everyone seems to end up at Floyd during those strange hours between night and late night. The music is always great, programmed by the Space crew— usually funkier than upstairs. Obviously, Space is the Miami party, but the locals don’t get there until 5–6 am. My favorite arrival time is between 9–10 am, after a disco nap, and then hang until about noon–1 pm. floydmiami.com

Beach. But with so much to explore, it can be tough to stay on top of the latest and greatest. That’s why we’ve asked some of Miami’s most prominent nightlife figures and industry insiders for their best-kept secrets and must-dos when visiting the Magic City. Here’s your guide to the side of Miami you never knew existed, straight from some of the city’s local tastemakers.

Alter 223 NW 23rd St. Miami 33127 305-573-5996

In Wynwood, I hit the bar menu at James Beard-finalist Alter—which is casual and doesn’t need a reservation, which could take a month in the main restaurant— or grab quick food and secret karaoke at 1-800-Lucky and its amazing gang of Asian food vendors. They are all great, and I’m happy Cake Thai just moved in.

altermiami.com

Prime Fish 100 Collins Ave. Miami Beach 33139 305-532-4550 The new joint is Prime Fish, which comes with an insane buffet, bottomless drinks, a main course, including a lobster omelet, and bagel flats with smoked salmon. Worth the price for the dessert table alone.

mylesrestaurantgroup.com

Danny Dillon Shampology 2690 NE Second Ave. Miami 33137 305-588-4142

Broken Shaker 2727 Indian Creek Dr. Miami Beach 33140 305-531-2727

My girl Jess at Danny Dillon Shampology kills it every time. I actually went once straight from Space for a manicure because I chipped off all my paint. She also gave me an incredible blowout.

My favorite cocktails, in any major city, will always be at the Broken Shaker or anything Barlab does. I always have them whip up something special, but just ask for a tasty concoction that’s spicy with tequila and you won’t be disappointed.

Honestly, the Bolero Room at the Electric Pickle is going to be a magical room this conference as it’s the last one [before it closes this year]. It has to be said because I’ve seen commercial DJs who are the biggest in the world, like Dixon, spin there years ago when they were underground. It’s a legendary spot.

freehandhotels.com/miami

electricpicklemiami.com

shampologysalon.com La Sandwicherie 229 14th St. Miami Beach 33139 305-532-8934 This place has been open for 30 years and is a staple in Miami nightlife food culture. Order a South Beach on a toasted croissant with everything on it and extra, extra, extra of that French dressing — makes my mouth water even now just thinking of it. The best part is you can go play a couple games of pool and get a nightcap at Mac’s Club Deuce right next door. lasandwicherie.com

El Palacio de los Jugos 2038 NW 27th Ave. Miami 33142 305-636-0832 I always take my out-of-town friends to one of the various Palacio de los Jugos locations in Miami. You’ll receive the warmest welcome by the people that work there, along with three days’ worth of take-home dinner for about $10.

elpalaciodelosjugos.com

Electric Pickle 2826 N. Miami Ave. Miami 33127 305-456-5613

Panther Coffee 2390 NW Second Ave. Miami 33127 305-677-3952 Hit up Panther Coffee for sure, and holler at Alexis while you’re there. Tell her I sent you and she may add some extra oomph to that coffee for you.

panthercoffee.com

The Anderson 709 NE 79 St. Miami 33138 305-757-3368

If you’re just looking for a little drink and a nice atmosphere, head to The Anderson on 79th Street.

theandersonmiami.com

Pinkgun Gallery 785 NE 125th St. North Miami 33161 786-514-3245 I have to keep my best spots secret, but I do enjoy a lot of the independent boutiques here in Miami. There is a lot of independently owned business here, and I do my best to support it. Miami is a perfect place to shop for pieces with flair and for all shapes and sizes. There are also so many great thrift shops here, like Midnight Thrift and Pinkgun Gallery. facebook.com/pinkgungallery

Nail Gawd 160 NE 167th St. Miami 33162 305-904-9140

My #1 nail spot is Nail Gawd in North Miami. I have been getting my nails done there exclusively for over a year by the amazing Gina, and every design has been on point and has lasted me during trips around the world. Plus, the vibe there is great. It is woman-owned and -operated, and I recommend everyone to try it.

Suzi Analogue Never Normal Records founder and DJ

If I want to take my friends from out of town somewhere really dope that will blow their minds, I take them to El Cielo in Downtown. It’s molecular fusion cooking, and you can do a nine-course meal. Each course has a wine pairing, and it’s absolutely fantastic.

elcielorestaurant.com

South Pointe Park 1 Washington Ave. Miami Beach 33139

KITH 1931 Collins Ave. Miami Beach 33139 786-636-1800

South Pointe is a beautiful place to start. It’s right near the port, so you can watch all the cruise ships come in. It’s a really dope place to go and chill.

Owner Ronnie Fieg has his own exclusive sneakers that he does. It also has streetwear for people in their 30s, so you don’t look too stupid. It’s all very good color palettes and well-made.

FREE

Markus Schulz DJ/producer

Lazaro Casanova DJ/producer

Miami Music Week Staff

nailgawdbydmarie.com

El Cielo 31 SE 5th St. Miami 33131 305-755-8840

For a city as young as Miami and that gets rid of any historical landmark it has, it’s cool to visit an estate that was built in the 1920s. The outside gardens are amazing, and it’s right on the water. It’s big, and there’s so much to see there.

vizcaya.org

There’s no shortage of great record shops in the city. Some favorites, of course, are Technique Records, with whom my label Never Normal just collaborated for Cassette Store Day, as well as Sweat Records and Lucky Records for more of a hip-hop edge. I would say those shops are the trifecta, but there are also many specialty shops that carry records from around the world. techniquerecords.com Nexxt Cafe 700 Lincoln Rd. Miami Beach 33139 305-532-6643 It serves huge plates. You can people-watch, and you probably have enough food for the rest of Miami Music Week.

nexxtcafe.com

Versailles 3555 SW 8th St. Miami 33135 305-444-0240

When I have DJ friends in town, I take them to Versailles. My favorite dish is the pollo a la milanesa, which is breaded chicken with cheese and ham on top of it with a side of rice and plantains.

versaillesrestaurant.com

kith.com Vizcaya Museum & Gardens 3251 S. Miami Ave. Miami 33129 305-250-9133

Technique Records 853 NE 79th St. Miami 33138 786-717-6622

All Day 1035 N. Miami Ave. Miami 33136 305-699-3447 Miami’s coffee culture is strong, however, All Day takes it a step above by brewing coffee in the most innovative ways to extract the best flavor. But don’t overlook the food: The eggs and sandwiches are some of the best breakfast and brunch bites around.

alldaymia.com

Mama Tried 207 NE First Ave. Miami 33132 786-803-8087

Downtown’s central business district is going through a nightlife renaissance. You still won’t find mega-sized nightclubs here, but locals are enjoying more intimate venues like Mama Tried, which serves well-crafted cocktails and has a jukebox loaded with your favorite tunes. It also hosts Miami’s only altcountry music nights on Thursdays. mamatriedmia.com

7tyone Restaurant & Coffee Bar 1130 Normandy Dr. Miami Beach 33141 786-717-7176 My personal favorite coffee shop is 7tyone in Normandy Isles. I am actually answering these questions after having their coffee, and let’s just say I am energized. They also carry juice and an amazing food menu.

facebook.com/7tyonerestaurant Mango’s Tropical Cafe 900 Ocean Dr. Miami Beach 33139 305-673-4422 If it’s your first time in Miami, you have to go to Mango’s. It’s one of those experiences: Any time my friends visit Miami for the first time, we get Mango’s out of the way.

mangos.com

1-800-Lucky 142 NW 23rd St. Miami 33127 305-768-9826

It’s an all-in-one-stop shop— there’s food, drink, and music. What I like about Lucky is that if you want to go with a group of people and you don’t want to argue about where to eat, there are different food vendors everyone can hit up. Their drink selection is pretty unique, too. It has matcha green tea beer, Japanese whiskey, and juice 1800lucky.com

The Vagabond Village 7301 Biscayne Blvd. Miami 33138 305-400-8420 The beautiful, renovated Vagabond Hotel just recently revamped its food and beverage options. Vagabond Sushi serves shareable plates with a Japanese twist, while Brigitte, a hidden lounge on the grounds, is the spiritual successor to Bardot.

thevagabondhotelmiami.com

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Nourish your body

Take in the sights

Photo Credit: Virginia Key Outdoor Center

Sleep is important, but equally as vital is the fuel you feed your body to get you going in the first place. Even at one of the party capitals of the world, you’ll need to balance out those cocktails with some electrolytes, and you’ve got options. Pack a refillable water bottle and some packets of Pedialyte’s AdvancedCare Plus Electrolyte Powder, which helps prevent dehydration in adults. You can also replenish electrolytes and essential minerals with Flow Alkaline Spring Water, which is conveniently packaged using renewable materials so you can keep Miami Beach looking as beautiful as you feel inside.

Familiarize yourself with your stunning surroundings as you prep for the organized chaos of MMW. Go for a run on the famed Collins Avenue, directly adjacent to the Faena Forum. Take a Lyft ride to Virginia Key, the new home of Ultra Music Festival. Head to the nearby Virginia Key Outdoor Center where you can bike, run, hike, kayak, and more as you bask in Miami’s glorious spring breeze. Virginia Key Outdoor Center ($-$$) 3801 Rickenbacker Causeway, Miami 33149 vkoc.net

Pregame with the locals.

AT THE CLUB

Photo Credit: Virginia Key Outdoor Center

PRE-PARTY

Before you head into the Miami marathon, follow this guide to help keep your mind, body, and soul in check.

Go hard, stay healthy

By Celia Almeida 38

Stay hydrated

Pedialyte’s AdvancedCare Plus Electrolyte Powder ($) pedialyte.com Flow Alkaline Spring Water ($) flowhydration.com

Stay comfortable.

It’s easy to put your health on the backburner during conferences and festivals, but you don’t need to sacrifice sustenance for speediness when you’re on the go. Soylent’s long line of mealreplacement products offers a healthy midday option. And Huel’s vegan, lactose-, soya-, and GMOfree line of products will ensure you get complete servings of the nutrients you need to keep up with the pace of MMW. Soylent ($) soylent.com Huel ($$) huel.com

Pace yourself.

Photo Credit: Adrian Gaut

Let in-the-know locals lead you to the best MMW pregaming spots. If you’re looking to stay in Miami Beach before WMC kicks off, hit up the Broken Shaker at the Freehand Miami. The hostel will likely be a hotspot for fellow MMW attendees, so you’ll be able to chill in a lax environment. Broken Shaker Miami ($$) 2727 Indian Creek Dr., Miami Beach 33140 freehandhotels.com/miami/ broken-shaker

Photo Credit: Courtesy of Fitbit

Athleisure is your best option for comfort and style as you venture out during MMW. Russell Athletic offers some classic and fashionable options, from bold polos and tanks to soft hoodies and fleece bottoms. And since you’ll be on your feet for days on end, skip the heels and grab a pair of stylish ASICS running shoes to help you stay active during the week. Russell Athletic ($) russellathletic.com ASICS ($$) asics.com

There will be no shortage of can’tmiss events and parties during WMC and MMW. But you’ve got to pay attention to your body if you’re going to make it through the hectic week. Let your Fitbit do the listening for you. The popular tracker’s sensors will stay in tune with your heart rate and count the number of steps walked (or danced) during MMW, while also tracking your quality of sleep and other metrics you’ll need to recalibrate your methods of self-care. Fitbit($$$) fitbit.com

Take time to recharge

TOP PICKS FOR WELLNESS IN MIAMI Disconnect

Photo Credit: Alec Kreisberg Glickman Media

If you need somewhere to refuel, Miami offers plenty of options that won’t break the bank. Free yoga classes are available all over the city, most often on Saturdays. Most of the sessions take place outdoors, so you’ll be able to take in the sights at Miami hotspots such as Maurice A. Ferré Park, formerly known as Museum Park, and SoundScape Park.

Close out the week with a healthy Sunday brunch.

Photo Credit: Courtesy of Planta South Beach

South Florida loves brunch. Whether you’re visiting or playing tourist for the week, closing out MMW at one of the city’s top brunch spots is a must. One of the best options on the beach is upscale vegan restaurant, Planta, located in South Beach’s world-famous South of Fifth neighborhood. Top menu picks include the Planta Burger and the “Crab” Cake Tostada made with hearts of palm, black beans, lettuce, pico de gallo, and guacamole.

after-party

Maurice A. Ferré Park ($) 1075 Biscayne Blvd., Miami 33132 miamiandbeaches.com SoundScape Park ($) 400 17th St., Miami Beach 33139 nws.edu

After a week of nonstop parties, panels, and networking events, you’re going to need to unplug from the outside world for a bit. There’s no shortage of spas in South Florida, but the Standard Spa offers a vast selection of relaxation treatments. Spa specials include massages accented with crystal sound bowl therapy, acupuncture, cupping, and even CBD massages. The Standard Spa, Miami Beach ($$$) 40 Island Ave., Miami Beach 33139 standardhotels.com/miami/spa

Meditate on your experience

Take time to reflect on the MMW rush you just experienced and calm your senses before you return to the pressures of daily life. Bagua Center, located in Downtown Miami, is a meditation center that offers meditation workshops, yoga classes, reiki healings, and more. Try the “grounding meditation” class, offering calming effects, which will ease your transition out of the hectic week. Bagua Center ($$) 4736 NE 2nd Ave., Miami 33137 baguacenter.combagua

If your body is still hungry for more TLC, treat yo’ self to these self-care heavens. The Last Carrot ($) 3131 Grand Ave., Coconut Grove 33133 305-445-0805 lastcarrot.com The Last Carrot, located in the heart of Miami’s historic hippie enclave, Coconut Grove, has served healthy sandwiches, salads, and juices since the mid‘70s. Venture outside of the Faena District and sip on some strawberry, papaya, pineapple, and mango smoothies.

Pura Vida ($$) 110 Washington Ave. #2, Miami Beach 33139 305-535-4142 puravidamiami.com Load up on nutritious and energizing acai bowls at this South Beach restaurant, cafe, and smoothie bar. Endless options include wraps, smoothies, acai bowls, and sweet treats like vegan keto brownies, gluten-free rocky road cookies, and vegan banana loaf.

Saints-n-Scissors ($$) 11091 Biscayne Blvd., North Miami 33161 305-981-2220 saints-n-scissors.com Look as good on the outside as you feel on the inside. Offering full-service beauty treatments from “fantasy” hair colors to unconventional nail art, Saints-n-Scissors specializes in crafting unique looks other salons don’t even dare to try. They also offer LED skin therapy, microdermabrasion, and specialty facials.

Dr Smood ($$) Various Miami locations drsmood.com Dr Smood takes its commitment to clean eating to new levels with an organic, kosher, non-HPP, and non-GMO menu that is free of dairy, eggs, refined sugars, preservatives, and pesticides. Try the restaurant’s “Smoodys,” like the Avocado Ginger with celery juice, avocado, spinach, ginger, lemon, and raw spirulina.

Planta ($$$) 850 Commerce St., Miami Beach 33139 plantarestaurants.com

DISTRIBUTION (RE) DEFINED LABEL SERVICES | MARKETING | PLAYLIST PROMOTION

SymphonicWMC.com

A Global Dance Floor for the Future By Kat Bein

These artists are changing the world—one beat at a time. The electronic music community has always been a forward-thinking group with lots of heart. From its earliest days, when it created a safe space for gays and minorities on the dance floor, to its modern-day, kandi-covered mantra of Peace, Love, Unity, and Respect, dance music has shaped artists and fans into thought leaders on a mission to build a more peaceful world. Here, we salute some of those electronic musicians who have taken exceptional action toward charitable efforts and honorable causes. Stay dancing, and get involved.

Heartfeldt Foundation WHO: Sam Feldt WHAT: A nonprofit platform dedicated to promoting sustainable lifestyle practices for a healthier planet. HOW: Feldt’s Heartfeldt Foundation enlists social influencers and brand ambassadors to live up to and raise awareness of the UN’s Sustainability Goals. Feldt and participating ambassadors use an action model centered around four simple concepts: Give, Do, Inspire, and Empower. Heartfeldt aims to partner with 10 influencers in the next decade with a combined reach of 10 million people, as well as securing $500,000 in funding, 90 percent of which will support green causes directly. Feldt was inspired to build the community by his own travel and touring, carbon costs he now counterbalances with “green seats,” or plane tickets that offset the carbon cost of traveling. “One time, I arrived in Jakarta and saw all the plastic on the streets,” Feldt says. “[Another] time, I flew to Hong Kong, and you couldn’t even see a thing because of all the smog. I realized there was something really bad going on with the world. If we continue living like this, we will lose our precious world real quick. That’s when I decided to do something about it myself.” Feldt will discuss his work with green causes and sustainability via Heartfeldt Foundation in his keynote session at this year’s Winter Music Conference on Thursday, March 28, at Faena

Sam Feldt Keynote speaker Thursday, March 28 11:30 am-12:30 pm Faena Forum

heartfeldt.foundation

ELEVEN

gofundme.com/zq22k-eleven

WHO:

Nicole Moudaber WHAT: A campaign to raise funds for and awareness of the fight against female genital mutilation (FGM). HOW: Moudaber was born in Nigeria, the country with the highest percentage of young women affected by FGM in the world. Her interaction with FGM victims inspired her to launch ELEVEN, which raises funds via GoFundMe and charity bracelets sold through Moudaber’s website (nicolemoudaber.com), all proceeds of which go to Magool, a charity created by human rights activist Leyla Hussein that promotes the rights and well-being of girls and women, especially those who have experienced or are at risk of FGM. “Every minute, somewhere in the world, 11 girls undergo FGM, hence the name of my charity, ELEVEN,” Moudaber says. “I’ve also met several women who have undergone FGM, and I wanted to speak out for those who don’t have a voice and help raise awareness. The majority of victims are young girls, and this is an extreme violation of human rights and, really, [a form of] child abuse.”

Nicole Moudaber Thursday, March 28 3:00-4:00 pm Faena Forum

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BLUME WHO:

plasticsoupfoundation.org

WHO:

3LAU

Oliver Heldens

WHAT:

A not-for-profit dance music label that connects electronic music lovers with philanthropic causes around the world. HOW: Since founding BLUME in 2016, 3LAU has donated more than $300,000 to Pencils of Promise (PoP), which builds schools and organizes educational opportunities for children in developing nations, as well as Hurricane Harvey relief funds, F Cancer, and more. In the future, 3LAU hopes to let fans pick charities they’d like to see involved. “I love working with PoP because they enable us to actualize our vision,” 3LAU says. “I’ve visited some of our schools in Guatemala twice now, and physically being able to see the impact our music has on those communities is a life-changing experience. Global access to education has also been a cause that’s close to me, mainly because it has a positive impact on communities for decades to come and sets the groundwork for long-term sustainability in developing countries.”

Against Fascism Trax

Plastic Soup Foundation

soundcloud.com/optimo-music

WHO: Optimo’s JD Twitch WHAT: JD Twitch, aka Keith McIvor, founded electronic music label Against Fascism Trax in late 2018 to help fight the global shift toward extreme conservative politics. HOW:

The Plastic Soup Foundation has one simple mission: “No plastic waste in our water.” HOW: Plastic Soup Foundation collects bottles, garbage, and other debris and then recycles it into durable nylon bracelets. Heldens signed up as an ambassador for the organization, and in one month, he helped raise more than €10,000 ($11,000). Some of those funds went toward a new app that aims to educate people on the small changes they can make to help Plastic Soup reach its goal. “Plastic has even reached Antarctica,” Heldens says. “It affects our future on earth: every person, and every living creature. On a personal level, I try to follow a ‘plastic diet’ by not using plastic straws, reusing water bottles, and choosing alternatives to plastic wherever possible. I believe if everyone makes small steps in their personal use, we can make a big difference collectively.”

Oceanic Global

oceanic.global

WHO: Nightmares on Wax, Blond:ish, Lee Burridge, Jamie Jones, and more WHAT: An international nonprofit dedicated to protecting and strengthening aquatic ecosystems by fighting all the endangering factors, from pollution to overfishing and more. HOW:

All proceeds from AF Trax releases will be donated to Hope Not Hate, a U.K. advocacy group that campaigns against racism and fascism that McIvor’s been donating to personally for several years. The label released its first record this past January and plans to release at least 10 EPs before the year ends.

Oceanic Global partners with ambassadors from music, fashion, art, and hospitality, many of whom are DJs. OG pairs grassroots measures, like beach cleanups and film screenings, with largescale operations, like greening initiatives for music festivals and artists’ partnerships aimed at eliminating plastic use on tours. It even organized a philanthropic event with Solomun and friends in Ibiza, and it plans to do more takeovers in cities worldwide.

“Seeing a global shift to the far right around the world is something I find truly terrifying,” McIvor says. “I think history has taught us that this can only be a terrible thing, and it also taught us that not standing against it in sufficient numbers can be catastrophic. I of course realize my tiny, little record label will have a negligible impact, but doing something always has to be better than doing nothing. I truly believe

“We must broaden the conversation and inspire new audiences to take action,” says founder Lea d’Auriol. “By weaving educational messaging into existing interest areas, we encourage individuals to consider their own consumption behavior, while also providing them with sustainable alternatives that suit their daily lives. Electronic DJs and musicians that draw large audiences have the ability to not only advocate for environmental causes, but also implement the changes we need and lead by example to create a more sustainable future for the entertainment industry.”

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Rave New World By katie bain

Media theorist and author Douglas Rushkoff believes the solution to technological dystopia might just be found on the dance floor.

Considered one of the world’s foremost public intellectuals, Douglas Rushkoff has authored 17 books chronicling media and technology in the digital age. He also accidentally wrote a guide to raving: 1994’s Cyberia amalgamated Rushkoff’s experiences in the early rave scenes of the U.K. and San Francisco—crusties, ecstasy, Big Heart City, all against the backdrop of emerging cyber culture— into a sort of playbook for upstart party people worldwide.

our relationships with technology and embracing our collective humanity are the only sustainable paths forward. The book argues for more socialization, collaboration, and anything else that makes us feel deeply human. Luckily, there are still a lot of these things to be had at a 3 am rave.

Indeed, the early cyber and rave worlds—both communal, whimsical, transformative, and largely untouched by capitalism—are inextricably linked. Emerging technology fostered not only electronic music, but, as Rushkoff wrote in Cyberia, a moment in which an entire subculture saw the potential of “marrying the latest computer technologies with the most intimately held dreams and the most ancient spiritual truths.” It was a moment of collective awe lived out in warehouses and renegade parties on the edge of town.

What were the primary differences between the rave scenes in the U.K. and San Francisco in those early days? In San Francisco, there were computers and people saying, “Let’s make music at 120 beats per minute,” which is the fetal heart rate. Both for better and for worse, it was using technology on people, thinking we can put people into this other state, and— between the technology, music, lights, and ecstasy—that we can encourage some kind of colonial group organism experience.

But, as Rushkoff began predicting in the late ‘90s, an online world once promising boundless creativity and human connection has been co-opted by platforms used to sell us things through increasingly sophisticated and often-insidious methods. Many would argue this trajectory isn’t dissimilar from electronic music culture, where onceunderground raves have evolved into today’s worldwide EDM juggernaut.

Photo Credit: Rebecca Ashley

Rushkoff’s newest book, Team Human, published this past January, argues that in these uncertain times, renegotiating

Here, Rushkoff—a keynote speaker at Winter Music Conference 2019—discusses the evolution of rave, the future of humanity, and the overlap between the two.

What I saw, though, was that because we didn’t understand how powerful capitalism and the market and the bad guys were, we didn’t know what to defend. We didn’t know what about our scene made it so special. We defended some of the wrong things, and the same thing that happened to the internet happened to rave. It became about these $10,000, $20,000, $50,000 DJs going to Las Vegas and charging $100 cover fees, which is the opposite of our reclamation of public space for the party. To a certain extent, the growth of electronic music parallels something you write about the internet in Team Human: “What was originally intended to detach

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has become a bastion of algorithmic hypnosis.” Is the corporatization of underground music cultures just the way things go, or something we need to consciously reject? We’ve got to push through it. In some ways, except for the drugs, rave was almost more susceptible than other kinds of music to this commercialization. Because rave was digital, it could scale infinitely and without any cost. You have an MP3 file, and it’s there. I don’t know how successful it was for the musicians. There were a few tangential artists, like the Mobys and others, who made megabucks. But otherwise, it was more the Calvin Harris kind of DJs/ producers who got big. As anything, it becomes something you buy or something you go to, rather than this cultural transformation we were imagining. But it’s so easy to say, “There was this golden time when everything was wonderful, and now it’s corrupted.” Rather, now that it’s spread, we have to retrieve the essential values and original core principles and rebirth them in a new context. In the book you write, “The playback of a digital recording is less of a real world event than the projection of a symbolic event.” Do you believe there’s something inherently faulty with computermade music? I wouldn’t say faulty as much as different. The beauty of digital music is that it’s all ambient. You’re never going to be hearing a person onstage singing or playing guitar. There are no true sine waves coming at you. It’s all sawtooth waves in one way or another. They’re all digital. It’s all sequenced. What that does is it depersonalizes the music. The power of that is it re-personalizes your interaction with everybody else in the room. That’s the thing I hate about DJ pope figures. They want [attendees] to be relating to them, when the whole point is that they’re not the figure, they’re the ground. A rave where people understand that the music is more like snow that we’re playing in, then the people are the subject. That’s my EDM advice: For people to remember that the music is not the thing, it’s part of an environment where an encounter between thousands of people can take place.

You talk about the importance of awe. Obviously, blowing peoples’ minds is something the electronic music world consciously attempts to achieve. Again, it’s a matter of distinguishing between awe and spectacle. Spectacle is going to Vegas and seeing the lights and [having an] experience more about special effects and explosionsensory overload. That, I would argue, is really hollow compared to the awe you get at two in the morning when you experience yourself as part of this collective colonial being. With or without drugs, when you have that, that’s awe. That’s when you can reconnect with that essential, collective human nature. I think the potential for that connection is a major reason why the rave world, which can be written off as escapism or hedonism or just entertainment, is actually really important. Yeah, this kind of play is the hard work. We’re living in a de-socialized, angry, fractious, divisive nation and world right now. Rave is hard to do, because you’re dropping the barriers. You’re experiencing intimacy; you’re challenging the boundaries to find your ego in relation to everybody else. That’s the obligation of the human organism at this point. If we don’t do this, we’re all going to die. It’s kind of that stark. The primary directive of Team Human is “find the others”—people with whom to be deeply human. The beauty of dance music is that, to a certain extent, it’s a collection of people who have already found their people. Right, and the beauty of it is, in rave, when you find the others, you’re finding everybody. It doesn’t discriminate the way so many scenes do. The whole point of rave was for fat kids, skinny kids, kids who climb on rocks. It was for everyone—the nerds, the jocks, the black, the white, the gay, and the straight. And when you see that person in the street the next day, you wink at them. From a “team human” perspective, it seems vital to expand on that sense of shared experience. How do we do it? Try and have that sense of connection with people who weren’t at the rave, and see what that’s like.

“Our most advanced technologies are not enhancing our connectivity, but thwarting it.” “Humans are defined not by our superior hunting ability so much as by our capacity to communicate, trust, and share.” “An increasingly competitive media landscape favors increasingly competitive content.” “Things may look bleak, but the future is open and up for invention.” “You are not alone. None of us are.”

“

In rave, when you find the others, you’re finding everybody. It doesn’t discriminate the way so many scenes do. The rave was for everyone—the nerds, the jocks, the black, the white, the gay, and the straight. And when you see that person in the street the next day, you wink at them.”

“ 50

Rushkoff’s Team Human is full of wise words and big ideas. Here, we’ve selected five key aphorisms from the book’s 100 sections.

Douglas Rushkoff Keynote speaker Tuesday, March 26 11:30 am-12:30 pm Faena Forum

By Michaelangelo Matos

Acid house creator DJ Pierre meets Irvine Welsh, the author who captured the ‘90s rave culture word by word.

Photo Credit: Afro Acid

DJ Pierre and Irvine Welsh are very different sorts of dance music legends. The former, a native Chicagoan, not only invented acid house—it was Pierre tweaking the knobs on the 303 on Phuture’s “Acid Tracks” (released in 1987, though Ron Hardy began playing the demo in 1984), the record that kicked everything off—but, after moving to New York, asserted himself on the city’s house style with early “wild pitch” records like Photon Inc.’s “Generate Power” (1991). All that, and he’s one of the best house DJs ever—from any city you like. Welsh is the Scottish author who hit his stride with biting, highly idiomatic fiction shortly after falling under acid house’s sway in Edinburgh. His first two books, Trainspotting (1993) and the short story collection The Acid House (1994), are definitive snapshots of ‘90s rave culture in its flower, and of course the movie adaptation of the former, in 1996, is one of the decade’s iconic films—and soundtracks. Most recently, he’s published Dead Men’s Trousers, the newest, and final, installment of the Trainspotting story, in which character Mark Renton runs a DJ management company. Welsh has also been playing DJ sets again, as well as working on an “acid house” album that,

at press time, is still shy of a distributor. (Welsh wants to issue it himself.) This month, DJ Pierre and Irvine Welsh go head-to-head at Winter Music Conference in an in-depth conversation that will dissect the long and rich history of acid house and its ongoing influence on electronic music throughout the decades. Here, rave historian Michaelangelo Matos chats with the two icons about all things acid house. When was the first time you heard someone else using the 303 as you had on “Acid Tracks”? DJ PIERRE: “151” by Armando. My stomach dropped when I heard that track. People would bring me these other tracks, and I’d say, “No, that’s not it.” But I remember hearing Armando’s track and being like, [pouting] “Aww, man.” And then—and then!—Marshall Jefferson also put out a track called “I’ve Lost Control.” It had nothing but drums on it. After he went into the studio with us, with “Acid Tracks,” that same track had drums and it had acid on it. Irvine, when was the first time you heard acid house? IRVINE WELSH: That would be at Shoom, Danny Rampling’s club [in London]. And I hated it.

Photo Credit: Jeffrey Delannoy

I was the only person in the place who wasn’t on ecstasy. I thought it was bollocks. There was no interface, no way into it for me. A few years after that, I got dragged along to Pure—or UFO, as it was back then—which was one-half of the Optimo guys, in Edinburgh. I took ecstasy for the first time, and I reacted completely differently with the music. It got right inside me. I had that kind of experience. Once you’ve allowed that into you, it took me a while to listen to house music in a non-intoxicated dancehall session, but I did. And I really enjoy it now. I’d been a heroin addict. I was very anti-drugs at that time—I already did that shit and it didn’t end well. “I’m not going there again.” It’s a totally different drug, a totally different scene, a totally different relationship. I was dragged along kicking and screaming. I thought, “This isn’t going to do anything for me.” But it did me a lot of good. What was your first time in England like? DJ PIERRE: It was a bit of a culture shock. I went to Canada when I was 15; I was in a marching band. [Aside from that], I had never been out of the country before. I just assumed, ignorantly, that the U.S. was the world—that the scene would be the exact same, an underground urban scene, black people, and Hispanics. I was really surprised that all these European white people were dancing to the music. I was thinking, “I didn’t even know they liked our music. They never come out in Chicago.” It was a very positive experience. You come back and you realize, “It’s just these guys. Not even the whole of America hates me, because these guys don’t.” Irvine, what impact did house music have on you? IRVINE WELSH: Basically, I became a writer because of house music. I was obsessed with house music. I was living in Amsterdam, and I was starting to go out every weekend. I wanted to get the beats in a similar way that, once we got the beats into the writing, it’s why I used the Scottish vernacular, because it’s a performative kind of language; it’s almost got a four-four beat, rather than a written one; it has beats because it’s meant to be performed. It was a typographical experiment on the page; throw the effects on top of that. That was done very consciously. I was out raving, clubbing all over the place. I had started DJing. I was DJing with some mates, and we were [playing] throughout the U.K. I was always hanging around the record shops, getting to know the people in the scene, looking at who was talking about what labels. I got a little obsessive about it. Then the writing started to take off. It was one thing or the other, really. DJ hours and writers’ hours are completely opposite. You start writing in the morning, and the DJs just get in [then]. It was just too much to continue all that, which was a bummer because I enjoyed doing it. But trying to do two things was killing me. It’s funny—I’ve started DJing again and started doing music again. It’s been the best part of this last year, doing this kind of technohouse acid album.

The House That Acid Built: A Conversation With DJ Pierre and Irvine Welsh Tuesday, March 26 5:00-6:00 pm Faena Forum

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AMERICA IS BURNING By Jose D. Duran With last summer’s premiere of FX TV show Pose, set in NYC’s mid-‘80s ballroom community, ballroom culture is reaching a new peak of mainstream awareness. But for scene vets like Atlanta-based artist Divoli S’vere, it’s about damn time everyone is turned on to the oft-misunderstood subculture. In fact, ballroom harkens back to the origins of dance music, places like ‘70s- and ‘80s-era Detroit, Chicago, and NYC where LGBTQ people—mainly black and Latino—would find an escape on the dance floor that was often unavailable in public spaces. Ball culture seemingly reached its zenith in 1990 via the definitive documentary Paris Is Burning, coupled with Madonna’s ballroom-influenced, multiplatinum single “Vogue,” which highlighted “voguing,” a house dance style with origins in Harlem’s ballroom scene. While balls have existed in some form since the 1800s, by the 1960s, most were hosted by white people, and black queens were expected to whiten

Divoli S’vere is pushing the Stateside ballroom scene to the foreground. their faces in order to fit in and heighten their chances of winning drag competitions. Looking for a space of their own, pioneers like Crystal LaBeija began hosting events specifically for black performers. At the suggestion of a queen named Lottie, LaBeija also formed the House of LaBeija, a group that started the modern “house” system. Back then, houses, headed by “mothers” and “fathers,” served as surrogate families for queer performers, providing safe spaces, guidance, and protection for its “children.” Rival houses hosted friendly “balls,” where participants “walked,” or competed, in dance and performance categories like “sex siren,” “realness,” and “face.” These elements, and many others, collectively defined modern ballroom culture, many of which still carry on in today’s scene. S’vere, who was born and reared in NYC before relocating to Atlanta in 2011, is today carrying the ballroom torch via his hyped-up original music and remixes. He’s become the go-to producer for anyone looking to put on a must-attend ballroom event. He’s now setting his sights on Miami: This month, he makes his Winter Music Conference debut where he’ll dissect the rebirth of ballroom and Miami’s LGBTQ underground and show the world how to werk. What sets ballroom apart from other styles of dance music?

Ballroom is a whole other world. Similar to hip-hop, there is a culture behind it. Hip-hop has culture and history to it; it’s not just the music. Ballroom also has the culture behind it—it has the art and creativity. It’s raw and organic and cannot be duplicated. What’s the biggest misconception people have about ballroom? It can be very cutthroat and blunt, and not everybody has the personality where they can take that. Everybody nowadays feels like they can jump in a ball and walk. How do you gain that experience if you just can’t jump in the scene? Gaining experience in the ballroom scene does not necessarily make you a ballroom member. You can learn to dance, but are you naturally a dancer? A lot of that stuff is just a knack; it’s just something that you have and tap into and perfect. A lot of people in the vogue scene have been doing this for years, especially the icons and legends. Voguing is not just a dance. Most trained dancers would not give what a ballroom dancer is a going to give, because it’s a feeling. You produce music, but do you walk, too? I have walked to play around. It’s kiki to me. I don’t take it as seriously as other people do. I prefer to DJ

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the ball because of the energy I get. I love to get that energy from my music: DJing, mixing the beats, and making [the crowd] feel it. I like to give the girls that and make them want to get out there and go crazy. Are you part of a “house,” i.e. a ballroom family? I’m not part of a house—I’m my own house. [Laughs] I’m thinking about joining a house. I’m probably joining a kiki house first, though. I’ve always said that if I do join a major house, it’s probably going to be something like [House of] LaBeija. That might be something that happens, but I’m not changing my name. I’m always going to be Divoli S’vere, and I’m always going to be my own house. What sets Atlanta’s ballroom scene and its music apart from other cities? It’s just a bunch of moods, really. I feel like a lot of Atlanta artists make music to cater to people bumping it in their cars. [Laughs] How many ballroom nights are going on currently in Atlanta? Atlanta doesn’t have anything steady. If you are looking for a consistent event, you have to do Atlanta Black Gay Pride, MLK Weekend, Memorial Day, or any of the big weekends or major holidays. You can always expect there to be three to five balls on those weekends. Other than that, you might find a kiki session here and there, but you got to really know people in the scene to know when those are happening.

The best way to experience ball culture is to see it in person. Head to these upcoming ballroom events and see the fierceness in the flesh. Power of the Pussy Tuesday, April 9 Renaissance Ballroom @ Miami

Why do you think there’s a lack of consistency? The consistency can happen and people want to do it so bad. But for some reason, it just doesn’t work out. Another thing: Balls last long. That’s why they’re so underground. You go in at like midnight or 1 am and you come out at like 8, 9, or 10 o’clock in the morning. Some of the categories can take forever because of the judging—there’s a conflict or someone doesn’t agree with the judges’ choice. Recently, they’ve been cutting balls short so they can be done at a certain time.

Dubbed POP9, icons Jack Mizrahi and Precious Ebony will serve as the masters of ceremony for this Miami ball. The night’s hosts will include Cash Mizrahi, Johnny 007, and Oso Milan, with DJ Oliver Milan setting the mood behind the decks. House of Vogue Second Wednesday of every month House of Yes @ Brooklyn, NY houseofyes.org

Listen to Divoli S’vere’s music at divolisvere.bandcamp.com.

House of Vogue is perhaps one of the few regular ballroom events in the U.S. This ball prides itself in educating people of the culture’s rich history, reminding allies to be mindful of the space. BANJEE BALL Monthly Balls Across Los Angeles banjeeball.com This West Coast ball celebrated its fifth anniversary last year with emcee Enyce Ebony delivering the commentary. The monthly event, which usually takes place at venues across Los Angeles, is Devin Christopher / Red Bull Content Pool led /by Isla Cheadle, a cisgender Karli Evans Red Bull Content Pool Michael McLenighan /who Red Bullhas Contentimmersed Pool woman Sam Teague / Red Bull Content Pool herself and learned about the culture. Banjee also hosts several workshops throughout the year for those looking to get some practice.

Digital Collision: The Convergence of Esports, The Rebirth of Ballroom and Gaming And Electronic LGBTQ Underground MusicMiami’s Culture

Moderator: Jose D. Duran, Miami Chris White Times,of Associate ManagingNew Director Merlin Web Editor Divoli S’vere, DJ/producer Collective Photo Credit: Devin Christopher / Red Bull Content Pool Karli Evans / Red Bull Content Pool Michael McLenighan / Red Bull Content Pool Sam Teague / Red Bull Content Pool

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Eat. Sleep. Game. Repeat. By Liz Ohanesian

In recent years, the popularity of esports, where competitive players engage in games ranging from League of Legends to Call of Duty, has exploded. A 2018 market report from Newzoo, a global video game and esports analytics firm, indicated growth across the industry, from audience size, investments, and prize money to individual player earnings and overall business revenue. And it’s not anticipated to slow down anytime soon. Thanks to live-streaming video platform Twitch, fans across the globe can access everything from tournaments to practice sessions, making the esports landscape fertile ground for connecting across media. Chris White is today bridging the worlds of esports and music.

Esports expert Chris White is betting on gaming as the future of music and culture.

The Australian-born, Los Angelesbased CEO of Merlin Collective, a talent agency representing clients in esports, broadcast, music, and entertainment, has had ample experience in the music industry. He began his career at Warner/ Chappell, moved to Sony Australia, and then landed in A&R at Island Records, where he was part of the team that relaunched Casablanca Records in Australia. But White became captivated by esports and left full-time work in music to dive deep into the business of competitive gaming. In 2017, White helped launch Esports High Performance Centre in Sydney, the first esports space of its kind in Australia. Today, his work in esports includes managing players and consulting with labels and brands looking to better understand this new frontier. This month, White brings his expertise to Winter Music Conference, where he’ll explore

the convergence of esports, gaming, and music and discuss where it’s all heading. Here, he breaks down the cultural crossover between gaming and music and the opportunities that come along with it. Music has always been integral to video games and became a more important part of video game culture over time. Has that happened with esports as well? It’s not happened yet, and I guess that’s really the exciting part of what I’m looking to do with helping people around the world. There’s definitely a link in regards to usage and enjoyment between esports players and gamers, the same as with any other culture, whether it’s traditional sports with guys with headphones on as they’re training or practicing. But the true link hasn’t really been utilized yet. Once those two environments cross, you can really see beneficial aspects happening for both the esports side and the music side. That’s the exciting part of why I’ve been so focused on bridging that gap. If you break down esports and music, the similarities are incredible. I think that they are the two most similar industries in the creative world right now. If you think of each genre of music with its own micro-population in it, each game in esports has its own micro-population [as well]. It’s all just about trying to engage the true identity of each of these populations. When you can do that, that’s when you can truly start building networks and building relationships to build out your careers. Is there overlap between certain scenes within esports and certain scenes within music? Absolutely, that’s a big part of what I’ve been doing. I’m consulting with

one team right now who we found has a massive [crossover] with one specific urban label. Looking at the exposure and the heat around esports gives an opportunity, then, for the record label to market and grow its artists within the esports organizations. There are so many different ways that this can be utilized. So if someone is releasing a new album, they could be aligning it to [be] part of the marketing plan. Or if it’s going the other way, if the esports team is looking to grow its base, it’s a symbiotic relationship. They’re looking to find people that are into or [becoming] fans of them, and, if there is a direct link already within the music styles and the games that they’re involved in, that’s a way to cross-pollinate and grow audiences on both sides. How do you see esports and music, especially electronic music, growing together in the next few years? I think people need to be coming at this with an open mind about how they can be working with people. I think the best results are going to come from people with the mindset of the symbiotic relationship of growing both together because [there are] really great possibilities for each of these two worlds to combine their work together for the greater good. I think one of the first steps is going to come down to whether it’s publishing or licensing agreements that are needed to place music within esports video content. But there are also so many other great angles and things that I’m specifically looking towards [for] the growth network of bringing music into esports or esports into music. It will happen symbiotically.

Digital Collision: The Convergence of Gaming And Electronic Music Culture Chris White ceo of Merlin Collective Photo Credit: Kevvy Flex

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