Elements NYC returns with stacked 2018 lineup topped by Bassnectar, Emancipator and more

This post was originally published on this site

BangOn!NYC‘s beloved Elements Music & Art Festival brand is returning to its Bronx home at Hunts Point this year for the event’s fifth installment, and this time, they’re gearing up for their biggest outing to date with newly reimagined programming for the summer shakedown. Returning with four elemental-themed stages and New York’s iconic skyline views as the festival backdrop, Elements has tapped Bassnectar with the day’s headlining duties, along with performances locked in from Emancipator, Snakehips, and a Dirtybird Players showcase of Claude VonStroke‘s west coast house heroes.

Taking place this year on August 11, the festival is incorporating a heavier emphasis on emerging technologies and interactive performances, and visual arts. The single day event is bringing over 20 performers to Hunts Point this summer, with some surprises still yet to be revealed. Now, with half a decade of Elements in the books, expect BangOn to pull out all the stops on the the 2018 edition.

A-Trak & Young Thug drop off vintage skate demo-inspired music video for ‘Ride For Me’

This post was originally published on this site

young-thuig-atrak-ride-for-me-video

Recently A-Trak and Young Thug linked up for a throwback to the Low Pros days, dropping off their grinding new collaboration, “Ride For Me,” via Zane Lowe on Beats 1. The track was met with equal parts surprise and praise, with Young Thug delivering one of his most aberrantly eccentric vocal performances in recent memory, complemented by rising rapper 24hrs’ tempered contribution, all wrapped up and packed tightly into a slow-burning A-Trak trap beat.

The pair have now released an official video accompaniment that ties together genres, styles, cultures, and even generations. Thugger and A-Trak rope in a heavy dose of 90’s nostalgia, linking with renown skate video director and Zoo York founder Eli Morgan Gesner for “Ride For Me‘s” one-of-a-kind concept.

The video clips together Gesner’s archived footage of legendary NYC skaters from two decades ago with cuts of A-Trak and Thug revisiting the same spots in the present day, filmed with the same Hi-8 camera, making the clips of 1994 and 2018 nearly indistinguishable. The feature’s visual aesthetics, which A-Trak describes perfectly as, “both nostalgic and post-modern,” play right into the track’s sonic appeal, juxtaposing a retro snapshot of life in the urban underground with a soundtrack of futuristic, new wave hip-hop.

BangOnNYC’s Time & Space New Year’s Eve with Claptone – Photos by Max Hontz

This post was originally published on this site

DSC04522

DSC04522DSC03992DSC05427DSC03771DSC03703DSC04185DSC05187DSC04013DSC05385DSC05607DSC05452DSC04649DSC05884DSC05365DSC04788DSC05236DSC05142DSC05123DSC05035DSC04837DSC04964DSC03816DSC04597DSC04565DSC04560DSC04497DSC04439DSC03699DSC03653DSC03613DSC03538DSC04146DSC03525DSC05206DSC04088

Behind closed decks: former Dubspot employees offer insight on the school’s shoddy business practices, eventual closure

This post was originally published on this site

Dubspot CEO Dan Giove resigned from his position with the company on May 19, 2017. A self-proclaimed “global leader in electronic music education,” Dubspot was founded in 2006 by Giove in an effort to market engaging production and DJing instruction from its flagship location in New York’s Meatpacking District.

Giove’s vision for Dubspot would draw many patrons to the its decks, as major news outlets like TIME and Time Out New York spotlighted the enterprise. The caliber of the institution’s offerings seemed to be further elucidated by the school’s attraction of central industry figures — DJ Shiftee taught there, while DJ Sprinkles and Nile Rodgers also had involvement with the program.

At its peak, Dubspot touted “events, a café, a podcast series, a blog, and notable alumni across the electronic music spectrum,” features that only further contributed to the brand’s illustrious reputation as an authority of electronic music instruction. It routinely sold out its classes, frequently priced in the thousands.

Former Marketing and Research & Development manager, Dave Cross, recalls its conception as a platform of, “really healthy activity in the NYC school and an online school that was starting to take off.” The success of its New York City location would prompt Giove’s establishment of a Los Angeles center in 2014. As the CEO would move from New York to California to develop the West Coast school, he would leave behind a business model fraught with financial misconduct.

Dubspot’s credibility as an esteemed educational arena for electronic preparation grew suspect once VICE Media’s electronically-focused channel, Thump, ran a story detailing the school’s course fraud. Written by David Garber, the original story cited more than 55 respective complaints that the school had failed to host classes that enrolled students had paid for. The students that registered and paid for the classes prior to their start did not receive refunds.

International enrollees Nina Braith, Iva Zabkar, and Mee Eun Kim each applied for visas to travel to New York to study at Dubspot. Braith, Zabkar, and Kim each paid $4,000 to join matriculate, but were subjected faulty orchestration soon thereafter. While Zabkar eventually elected not to take classes there after Giove informed her that the then “current disorganization” was due to an impending loss of lease, Braith accepted Giove’s promise that the courses would continue at the New York location in spite of Dubspot’s rent concerns. Her class never ran, nor did the school refund Braith — she only received her original payment amount once her credit card company processed a refund to her account several months later.

Kim’s course never began either. To complicate matters, Kim had paid for the class via bank transfer, negating her ability to initiate a chargeback. She did initiate a small claims court case against Dubspot in May, but Giove notably did not appear in court on the trial date. Kim has since discovered that Giove has closed the accounts that he held at many banks.

Giove’s negligence became apparent to various employees rather early in the school’s foundation. Henrich Zwahlen, who assisted Dubspot in the creation of courses working with Ableton, Komplete, and Maschine attributed his resignation to noticing the company’s depleting funds. Zwahlen imparts that some staff members were aware of Giove’s plunging finances, and accordingly sought to invest in the company. Once the interested parties offered to give Giove a minority stake in the salvation effort, Zwahlen reports that Giove rescinded the proposal and fired the employees.

An anonymous source notes of Giove’s questionable fiscal behavior, “There were lots of shady refund practices with students; it seemed like a money-grab kind of situation. [Giove] still owes me money to this day.”

Dave Cross further underscores Giove’s “shady” financial actions, admitting that he and four other “higher-ups” eventually recognized that Giove had spent money allocated for Dubspot’s Los Angeles base on a number of luxuriant art pieces, including an African mask that allegedly cost $50,000. Giove maintained that the purchase of such props was necessary to the induction of an “art-focused community space.”

A number of other employees were attuned to the insufficiency of funds available to formidably open another location. Cross and other his colleagues spoke to many of the company’s “middle managers” about the dwindling budget, devising a plan to persuade Giove to postpone the opening of the West Coast location. Giove promptly fired three people presumably involved in the suspension effort, and Cross resigned shortly afterward.

While Giove did kickstart Dubspot’s Los Angeles initiative, the West Coast edition of the school would flop alongside the New York location. Some of the pricey décor that Giove had purchased with money from the Los Angeles budget would later be given to Mike Henderson, a member of Dubspot’s Los Angeles team. Henderson recalls Giove presenting him with a “bunch of gear” in place of his commission checks. Giove reportedly gave Henderson the items, saying “Here, man. I can’t pay you, but just take this gear, sell it.”

Some of Giove’s former employees have identified an alcohol-related problem as a potential culprit in many of Giove’s poor business decisions, despite his claim to have been sober for nine years following Dubspot’s opening in 2006. “For young business owners, dealing with mental health issues when you’re starting a business is one of the hardest things you can ever do,” Giove declared. “It makes you absent. There’s a lot I think that could come out of this for anyone working in the music industry. It’s so closely tied to mental health issues. For me it’s been dealing with depression and anxiety and all kinds of other things that come with doing this.”

Reflecting retrospectively on Dubspot’s collapse, the former CEO laments having to close the company. “It’s beyond heartbreaking,” Giove remarks of Dubspot’s demise. “The worst part of it all was not being able to pay the students, teachers, and creditors the money they were owed.”

Thump’s original Dubspot report can be read here.

 

H/T: FACT

 

Read More:

New details of Fyre Fest founder’s financial mismanagement arise

Spotify financials leaked, show losses widening ahead of Stock Market listing

SFX’s sale of $15 million in stock suggests underlying financial troubles

The Creative Footprint establishes initiative to curb gentrification

This post was originally published on this site

The Creative Footprint wants to help curb the effects of gentrification in New York City. The group’s new initiative is called NightCamp NYC — a two-day intensive workshop series which brings together promoters, venue owners, stakeholders, government representatives and global nightlife experts.
“Following the successful repeal of the city’s institutionally racist Cabaret Law and the announcement of a new Office of Nightlife, New York City is entering an exciting period of activism after dark,” The Creative Footprint said in an statement. “The Creative Footprint brings 15+ years of experience from two of the world’s foremost nightlife experts to the city’s vibrant movement, and will arm the scene with necessary data to better protect itself.”

The group is seeking investors via Kickstarter in order to procure data, host the conference, and present the data to attendees.

“It’s very rare that creative scenes have enough data to support their arguments when it comes to gentrification,” says the group’s founder Lutz Leichsenring, a Berlin based venue owner and  spokesperson for the 220-member Club Commission since 2009. “The Creative Footprint is a way for us to work with communities to gather their data and hold governments and developers accountable for how they affect their scenes.”

The Creative Footprint hopes to raise $35,000 over the next month and a half.

Read More:

Berlin government set to invest in protection of nightclubs

News Moogfest hosts 50 artist live stream showcasing female, trans, and non-binary talent

Red Bull returns to Berlin for their 2018 Music Academy workshop

New York Mayor Bill de Blasio to sign bill repealing the Cabaret Law today

This post was originally published on this site

91 years later, New York City dance floors have been liberated.

November 27, New York Mayor Bill de Blasio will sign the bill that will repeal the city’s Cabaret Law, instituted in 1926.

An archaic remnant of a previous, more restrictive era, the Cabaret Law made it illegal for New York City public spaces to host “musical entertainment, singing, dancing or other forms of amusement” without a cabaret license. Performers and employees of cabarets alike were fingerprinted and forced to carry “cabaret cards” as proof of their licensure under the law from 1940 to 1967. The city reserved the ability to refuse the grant of such a license to applicants with police records, creating limitations for performers like Billie Holiday and Ray Charles. Holiday and Charles were both unable to book a club date for several years due to their respective narcotics records. Frank Sinatra notably avoided the New York City performance platform for several years, refusing to complete the fingerprinting that would serve as the prerequisite for the cabaret license.

The Cabaret Law has long fettered New York City’s nightlife arenas, despite the city’s claim to be a “nightlife capital.” Only 97 out of approximately 25,000 eating and drinking establishments currently hold a cabaret license, the sparseness of the licenses duly the product of the license’s expense, and venues’ limited eligibility. Only those businesses placed in areas zoned for commercial manufacturing are able to obtain a license. Yet even if a business is able to apply for a license based on its geographical position, acquiring the license can be a time consuming venture, as approval of the license for the given establishment must be submitted by numerous agencies.

While many public and political figures have campaigned to repeal the Cabaret Law, it is Rafael Espinal’s bill that de Blasio will sign into effect today. A Brooklyn councilman and advocate for New York City nightlife, Espinal has also passed a bill to create a New York based nightlife office that will serve as a point of contact for the city’s government and owners of nightlife establishments.

“For almost a century, the Cabaret Law has targeted specific groups, kept businesses and performers in fear, and stifled the expression of NYC’s vital culture. I am proud to champion this historic repeal, which will support our nightlife businesses while maintaining the much-needed safety measures we already have in place,” Espinal says of the groundbreaking stride towards a freer New York City nightlife network. New Yorkers can accordingly be expected to get ‘footloose’ this weekend in celebration of the momentous victory for the metropolitan nightlife scene.

H/T: Resident Advisor

Read More:

91 years later, New York City looks to abolish its Cabaret Law

New York City government votes in favor of nightlife office, task force

New York plans to elect a Night Mayor to govern nightlife in the city

Seven Lions, Tritonal, and Kill the Noise (HORIZON Tour)- Photos by Max Hontz

This post was originally published on this site

RL Grime at Terminal 5 (NOVA Tour) – Photos by Max Hontz

This post was originally published on this site

91 years later, New York City looks to abolish its Cabaret Law

This post was originally published on this site

If all goes according to plan, New York City venues will no longer be subject to the Cabaret Law.

A bill that seeks to repeal the Cabaret Law, established 91 years ago in 1926, will be presented to the City Council on Tuesday by Rafael Espinal, a councilman from Brooklyn. Made possible only through the passing of Espinal’s new bill, the corresponding repeal of the Cabaret Law requires a total of 26 votes, but Espinal has already declared that he has the necessary number of votes needed to pass the new bill. “It’s over,” Espinal has said of the Cabaret Law.

An archaic remnant of a previous, more restrictive era, the Cabaret Law made it illegal for New York City public spaces to host “musical entertainment, singing, dancing or other forms of amusement” without a cabaret license. Performers and employees of cabarets alike were fingerprinted and forced to carry “cabaret cards” as proof of their licensure under the law from 1940 to 1967. The city reserved the ability to refuse the grant of such a license to applicants with police records, creating limitations for performers like Billie Holiday and Ray Charles. Holiday and Charles were both unable to book a club date for several years due to their respective narcotics records. Frank Sinatra notably avoided the New York City performance platform for several years, refusing to complete the fingerprinting that would serve as the prerequisite for the cabaret license.

The Cabaret Law has continued to fetter New York City’s nightlife arenas, despite the city’s claim to be a “nightlife capital.” Only 97 out of approximately 25,000 eating and drinking establishments currently hold a cabaret license, the sparseness of the licenses duly the product of the license’s expense, and venues’ limited eligibility. Only those businesses placed in areas zoned for commercial manufacturing are able to obtain a license. Yet even if a business is able to apply for a license based on its geographical position, acquiring the license can be a time consuming venture, as approval of the license for the given establishment must be submitted by numerous agencies.

While the law has not been enforced with the ardency that it had been prior to the Guiliani administration, the Cabaret Law has witnessed several failed attempts to repeal the law. Despite the Guiliani administration’s comparatively relaxed reception of the law, the Cabaret Law continues to be a point of concern for bar and club owners, who will continue to “[live] in fear,” so long as the law remains in place, as Espinal notes. If caught in violation with the Cabaret Law, owners can face large fines or complete closure.

Espinal emphasizes that the Cabaret Law is responsible not only for the installation of such fear in bar and club owners, but also for the increase in the popularity of underground or warehouse based dance spaces. Espinal views the restrictions imposed by the Cabaret Law as the catalysts for dancers’ departure from “safe, regulated spaces” into potentially unregulated or less regulated areas. “When we stop people from dancing, they go straight to these warehouses,” Mr. Barclay has stated, referencing Oakland, California’s Ghost Ship warehouse fire that would claim the lives of 36 people. “People haven’t stopped dancing,” Barclay continued, “they’re just dancing in these extremely unsafe, unregulated environments.”

The former director of the New York Civil Liberties Union, Norman Siegel has applauded Espinal’s drive to strike down the near century-old law. “Halleujah to that, it [the law] was used periodically to be very repressive on free expression.” Siegel is memorable for his effort to dethrone the Cabaret Law about a decade ago, on the grounds that the law violated dancers’ First Amendment rights.

If Espinal is successful in collecting the 26 votes needed to pass the new bill that will accordingly rescind the Cabaret Law, the context of New York City’s dance culture will be forever altered, the city receiving another opportunity to shed a law it outgrew long ago.

H/T: The New York Times

Read More:

Webster Hall’s former director running for New York’s Night Mayor Position

New York City is one step closer to getting its own night mayor

Amsterdam’s Night Mayor to assist in revitalizing Sydney’s nightlife

TROYBOI, YEHME2, LOUIS FUTON, and SLUMBERJACK at Brooklyn Steel (NYC)- Photos by Max Hontz

This post was originally published on this site

Photos from Troyboi’s “Left is Right” Tour in Brooklyn!

Unfortunately, Troyboi NOT pictured (Camera Batt).