Alesso debuts new single, ‘REMEDY,’ on Good Morning America

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Alesso debuts new single, ‘REMEDY,’ on Good Morning AmericaAlesso Conor Maynard Remedy Gma Performance Credit Disney Abc Press

Swedish superstar Alesso, took to Good Morning America’s Summer Concert Series in NYC’s storied Central Park in early September to perform his brand new single, “REMEDY.” The performance was equipped not only with full-fledged live instrumentation, but also vocals from the track’s tender-voiced Conor Maynard. A patron of piano since the ripe age of seven, Alesso assumed his position on keyboard at the crest of the prismatic stage setup.

While the track is Alesso’s first release of the year, the artist has kept quite active on the festival front. To follow up his top-notch wrap-up of Electric Zoo‘s 10th anniversary installment (during which “REMEDY” made a notable cameo), his headlining seat at Imagine Festival will serve as the searing crescendo to Alesso’s full-bodied festival season.

Cirez D & Adam Beyer to convene for four b2bs shows this winter

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Cirez D & Adam Beyer to convene for four b2bs shows this winterCirezDAdamBeyer 3 24 18 AJRphotos 086 0

Eric Prydz will go b2b to b2b…to b2b to b2b with Adam Beyer under his Cirez D alias come fall. The legendary duo will play two dates in Los Angeles and New York respectively, stopping by LA’s Hollywood Palladium on November 23 and 24, before collectively making their way to Brooklyn for two succeeding performances on November 30 and December 1.

Factory 93 will head the LA events, while Teksupport will handle New York’s. The masterminds behind the technics of Prydz’s EPIC shows will head the production of the b2b appearances, promising an “essential rave experience” guaranteed to “push the boundaries of how techno can be presented.”

Cirez and Beyer notably linked up for a sold out b2b appearance in March 2018 for Miami Music Week.

Tickets to all b2b dates will go on sale on August 3. Those interested in purchasing tickets to the LA b2bs can do so here, while those looking to attend the NY based b2bs can do so here.

Photo Credit: DJ Mag

H/T: DJ Mag

The Greatest Day Ever Music Festival NYC – Recap

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The Greatest Day Ever music festival came back to the Bronx this year with some big names from Hip-Hop and EDM. The event toke place in the New York Expo Center with the stage itself inside a huge warehouse and a ton of rides and games outside. Day 1 got packed real fast with many

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Axwell / Ingrosso Tell Fans In NYC “Swedish House Mafia Tour 2019”

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Last night, Swedish superstars and 2/3rds of Swedish House Mafia, Axwell & Ingrosso, played a mammoth show at the Brooklyn Mirage in New York City. On a marvelous holiday weekend the place was packed to the gills and to end the special night Axwell shared some pretty big news. As they were closing down their set

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

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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.

Brooklyn’s Output Releases Massive Schedule For The Roof And Opening Weekend Dates

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Output in Brooklyn is easily my favorite club I have ever been to. Tucked away in a corner of New York City were the elite pay thousands for bottle service, lies an oasis of pure, unadulterated dance music. No phones to take pictures with, no VIP to separate partiers – just one of the best

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

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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

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

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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.




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The Creative Footprint establishes initiative to curb gentrification

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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.

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