Podcasts about cdjs

The conversation covers Fuse's European travel adventures, including their experiences in Portugal, Spain, and Ibiza. They also discuss DJs Assemble performance, and their new DJ equipment CDJ 3000, including the use of CDJs and USB sticks for DJing. Lastly they talk about recent weddings they've worked.

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In this week's episode of the Podscarf, we welcome legendary music producer Rick Rubin—who accidentally ruins our viewer retention stats before getting violently dragged off set—alongside Radio 1 DJ Melvin Odoom and Southwark Borough Fire Commander Daniel Capon for an hour of pure, unadulterated legacy media chat and safety protocols. If you've ever wanted to hear a group commander explain why you should never, under any circumstances, throw a bucket of water on a kitchen oil fire, or witness an adult man explain a legendary schoolyard Desmond's impression that culminates in a smelly finger, listen up. - 00:04 – Rick Rubin's Creative Process 01:37 – Analyzing the Podscarf Stats: The Sudden Rick Rubin Retraction Dip 02:27 – The Irish vs. Ghanaian Apostrophe Scandal with Melvin Odoom 02:49 – Radio 1 Live Lounge Lore: Chilling out with an Enigmatic Harry Styles 03:54 – Cantaloupe Melon Sugar: Harry Admits He Is Way Too Old for Current Music 04:44 – Licky the Mascot Debuts an Elaborate Swiss Army Taser Dance 05:58 – Selling Nine-Volt Batteries and Homemade Shock Equipment for £20 06:31 – Misidentifying Greg Wallace and Stalking the Aisles of Home Bargains 07:27 – Buying Eight-Foot Teddy Bears and Massive Boxes of Chewing Gum 08:03 – CDJs vs. Vinyl: Embracing the Technical Demise of Creative Revenue 09:29 – Sarah the AI Bot Offers a Fork Bump and Wants to Kiss Your FM 10:10 – Biographies of North London: From Cricklewood to Seven Sisters 11:06 – Minoring in Apple Trees: Learning How to Plan Content at Bedfordshire 11:56 – A-Level Acting Failures, Clearing, and Stanning Trevor Nelson 12:29 – Harry's Trendy Habits as a Six Music Dad Who Secretly Listens to Gold 13:15 – Student Radio Origin Stories and Trading Drama Classes for BBC Toast 13:53 – Fired From Capital Radio: The Demise of the 2004 Playlist 14:37 – Looking Out at the Aberdeen Museum of Steak while Evanescence Plays 15:24 – Welcome to Funch: The 18-to-24 Female Focus Group Disaster 16:49 – Chatting Rubbish vs. Real Work: Melvin's Mum the Dementia Care Worker 17:36 – Demanding Jollof Rice and Chicken 18:00 – Sarah Breaks Down the 2009 Kiss Breakfast Sony Radio Silver Award 18:48 – Dick and Dom Bungalow Memories and Bleeding Love on a Miniature Guitar 19:57 – The Nose-Flute Solo Experiment 22:02 – Steve Wright's The Slammer and Getting Your Foot on the Rung via Free Toast 23:03 – Strictly Christmas Revenge and Scored Minuses on House of Games 24:16 – Celebrity Take Me Out Lift Entrances and a Fake Date at a Holborn Bowling Alley 25:27 – E4's My Hotter Half: Using Mood Lighting to Make Over Ugly Couples 26:12 – Naked Attraction Musings: Releasing Inhibitions and Boosting Ratings 27:42 – SUV Entrances on Traitors and Marvin Humes' Jungle Eating Warnings 29:32 – GK Barry Pulls Out of the Show to Go to the Brit Awards 30:18 – Gifting a Best Single Brit Award to an Incredibly Beautiful James Blunt 31:12 – Rick Rubin's Hamburg Cutlery Shop Memory: Paul McCartney's Missing Spoons 32:00 – Making a Clack-Clack Sound on Cherry Bakewell with German Forks 33:07 – Firefighting: Welcoming Daniel Capon (The D-Man) from Southwark 33:38 – Surviving the 24-Hour Operational Officer Shift Patterns 34:06 – Dispelling Misconceptions: 20,000 Fires vs. 56,000 Special Services 34:38 – The Ultimate London Fire Brigade Statistic: Exactly Five Cats Rescued from Trees 35:27 – Dripping Radiators and Calling 999 Because the Gardener Smashed a Window 36:58 – Modern Prevention Safety: Utilizing Free Station Community Rooms 38:39 – The Nature of Big Red Toolboxes and Fixing Things by Default 39:22 – Cooking Left Unattended: The Demise of the 1970s Damp Tea Towel Protocol 40:48 – Sixty-Second Station Mobilization and the Speed Efficiency of the Fire Pole 41:08 – Harry's 1976 Maidstone Scout Firefighter Badge Strike Trauma 42:31 – Lithium-Ion Charge Safe Campaigns: The E-Bike Battery Threat 43:22 – Containing Black Smoke Inhalation by Keeping Property Doors Firmly Closed 44:39 – The Unsung Heroes of the LFB Control Room Network 47:05 – Heartwarming and Heartbreaking Families: Working a 30-Year Career 48:34 – Online Home Fire Safety Checkers for Vulnerable London Residents 50:14 – GAME TIME: "What is the Velcro Singing?!" 51:36 – Mistaking Leona Lewis for Little Mix Black Magic and Only Fools and Horses 53:22 – Gary's Joke Corner (Melvin's Historic Desmond's Impression) 55:19 – Old African Sayings: Itchy Bums, Smelly Fingers, and Schoolyard Training 55:34 – Butterfly In Blue Jeans "Melvin Odoom" by Wikipedia contributors, used under CC BY-SA 4.0. Derived from the Wikipedia article on Melvin Odoom. / This work is licensed under CC BY-SA 4.0. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Multiverse by Luke Volcano Show: Multiverse Artist: Luke Volcano Air Date: 15 July 2026 Genre: Techno / Hypnotic Techno / Minimal / Melodic Techno Welcome to Multiverse by Luke Volcano—your fix of underground techno, minimal, and deep techno, peppered with electro and breaks. Seamlessly blending past and present, each episode brings a fresh perspective to the airwaves. No formulas, no static playlists—just pure selection mixed live on vinyl and CDJs. It's all about the atmosphere—capturing hypnotic rhythms, rolling grooves, and that raw, late-night energy that pulls you in. Tune in, lock in, and get deep in the vibe. Tracklist: Intro Kollektiv Trumstrasse - Flaschenpost Guy J - Algorithm (Original Mix) Nicolas Masseyeff - Mugen (Original Mix) Brian Gros - Sequence (Original Mix) Rrose - Waterfall (Original Mix) Pan-Pot - Black Horse Down (Original Mix) Timo Maas - Kick1 Kick3 (Maetrik Sexy Remix Edit) Balthazar & JackRock - Brom (Balthazar & JackRock) Chymera - 7 Hours (Original Mix) Dast (Italy) - Deep Down (Original Mix) Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

Luke Volcano presents The Sound of Rebel Deep 026 Show: The Sound of Rebel Deep Artist: Luke Volcano Air Date: 1 July 2026 Genre: Deep House / Deep Tech / Minimal / Indie Dance The Sound of Rebel Deep is a journey through the vast spectrum of underground house music. Stripping away the mainstream and focusing strictly on the underground, each episode delivers a completely fresh, handpicked selection that bridges the gap between past and present. Whether digging deep into the archives for vinyl-only classics or spinning the latest cutting-edge promos on the CDJs, no two weeks are ever the same. Expect an ever-evolving rotation of deep rhythms, timeless grooves, and pure electronic curation. Tracklist: Greg Paulus - Nightime (Crazy P Remix) Move D - To the Disco 77 MANQO - Plain Sight Acid Pauli, Nico Stojan - Vola &ME, Rampa, Adam Port, Keinemusik, Sofie - Discoteca Dave DK - Herzen Auf DJ Koze - Wo's Patric?!? MAXI MERAKI, Jemek Ortega, Samm (BE) - Don't Care Anymore Beacon - Fault Lines (Dauwd Remix) Franck Roger - The Feeling Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

Psy Me On The Dance Floor E024 Show: Psy Me On The Dance Floor Artist: Miss Louie Air Date: 18 June 2026 Genre: Techno / Psy-Trance In this episode, I'm blending CDJs and vinyl. The reason I incorporate digital is because of my own produced tracks—both related and unreleased—that I've made so far. I also have an EP dropping in one week on a highly respected label, so be sure to keep an eye on my Instagram profile for updates! LETS DANCE!!! Tracklist: 1. Tambuneri - Madre Terra - Danza Tribale 2. Aadja- Voices in the hall - TRIP 3. Miss Louie - Believe me - PulseWave Rec. 4. Miss Louie - Move with me - (Unreleased) 5. Miss Louie - Cosmic Acid Cat - Janus Recordz 6. Cerrot - Panic Attack - TRIP 7. Changer - The Carrier - Space Trax 8. Miss Louie - Angel Tiger - (Unreleased) 9. Indira Paganotto - Angels never die - KNTXT 10. Miss Louie - Transition - Pulsewave Rec 11. DINA- Shadowlands- SLASH 12. L-3P - Yhoran- Space Trax 13. Audrey Danza- Laughing in 4D- Air Ways 14. Miss Louie - Psychedelic Pow Wow Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

🎶 Hey electronic music lovers! 🎶 🔥 A brand-new episode of “Groovegsus & Friends” is here! 📍 Episode #113 – This week our guest is DJ Banish 🎧 1 hour of of the finest beats – don't miss it! 📡 Catch the show all week long on these stations: 🕘 Sun – 21:00 → Radio Vibration (BE) – 107.2 FM / DAB+ 🕗 Mon – 20:00 → Eventbe Radio → http://www.eventbe.be 🕘 Tue – 21:00 → XBeat Radio → http://www.xbeat.org 🕔 Wed – 17:00 → Evosonic Radio (DE) → https://www.evosonic.de 🕙 Thu – 20:00 → TotalGroove Radio (ES) → https://www.totalgrooveradio.com 🕖 Fri – 19:00 → Kapital3 Croatia → https://www.kapital3.net/events/klangwerkradio 🌙 Sat – 00:00 (midnight) → RPL Radio Lille (FR) – 99.0 FM / DAB+ → https://rpl.radio 🕘 Monday to Friday 9PM → Total Groove Radio (ES) → totalgrooveradio.com 🎧🎧 BIO 🎧🎧 DJ Banish is a versatile and dynamic artist celebrated for his ability to blend deep, dark atmospheric sounds with bumping beats, crafting a distinctive progressive minimal groove. With an impressive career that began in 2006, he has mastered mixing with vinyl, CDJs, and timecoded setups, combining technical skill with a relentless passion for music. Banish's dedication lies in discovering tracks that captivate audiences, elevate his sets, and create unforgettable moments on the dance floor. Over the years, Banish has graced iconic venues like Cherry Moon, Riva, and Noxx Terrazza, as well as major festivals such as Fuel Injection and Beautiful Session Outdoor. Known for his creative and original concepts like Magic Island and Deep in Mind, he consistently brings electrifying energy and heartfelt emotion to every performance, leaving crowds thrilled and eager for more. Bookings: 0484/57.95.58. 🎧🎧 LINKS 🎧🎧 Facebook: https://www.facebook.com/profile.php?id=100010266637602 Soundcloud: https://soundcloud.com/benjke_4 Beatport: https://www.beatport.com/artist/beyond-space/417426 🎧 Podcasts available here: 🍏 iTunes → https://podcasts.apple.com/be/podcast/groovegsus-livesets/id513117071?l=fr ☁️ Soundcloud Sets → https://soundcloud.com/groovegsus/sets/radio-show-groovegsus-friends 🎧 Deezer → https://www.deezer.com/en/show/3401932 📻 Player FM → https://player.fm/series/groovegsus-livesets 💬 Like, share, comment & join the community! 🔊 A fresh dose of quality electronic music awaits you every week 🙌💃 #Groovegsus #RadioShow #melodichouse #LiveSet #ElectronicMusic #BelgianDJ #MusicIsLife #DJSet #DeepVibes

🎶 Hey electronic music lovers! 🎶 🔥 A brand-new episode of “Groovegsus & Friends” is here! 📍 Episode #113 – This week our guest is DJ Banish 🎧 1 hour of of the finest beats – don't miss it! 📡 Catch the show all week long on these stations: 🕘 Sun – 21:00 → Radio Vibration (BE) – 107.2 FM / DAB+ 🕗 Mon – 20:00 → Eventbe Radio → http://www.eventbe.be 🕘 Tue – 21:00 → XBeat Radio → http://www.xbeat.org 🕔 Wed – 17:00 → Evosonic Radio (DE) → https://www.evosonic.de 🕙 Thu – 20:00 → TotalGroove Radio (ES) → https://www.totalgrooveradio.com 🕖 Fri – 19:00 → Kapital3 Croatia → https://www.kapital3.net/events/klangwerkradio 🌙 Sat – 00:00 (midnight) → RPL Radio Lille (FR) – 99.0 FM / DAB+ → https://rpl.radio 🕘 Monday to Friday 9PM → Total Groove Radio (ES) → totalgrooveradio.com 🎧🎧 BIO 🎧🎧 DJ Banish is a versatile and dynamic artist celebrated for his ability to blend deep, dark atmospheric sounds with bumping beats, crafting a distinctive progressive minimal groove. With an impressive career that began in 2006, he has mastered mixing with vinyl, CDJs, and timecoded setups, combining technical skill with a relentless passion for music. Banish's dedication lies in discovering tracks that captivate audiences, elevate his sets, and create unforgettable moments on the dance floor. Over the years, Banish has graced iconic venues like Cherry Moon, Riva, and Noxx Terrazza, as well as major festivals such as Fuel Injection and Beautiful Session Outdoor. Known for his creative and original concepts like Magic Island and Deep in Mind, he consistently brings electrifying energy and heartfelt emotion to every performance, leaving crowds thrilled and eager for more. Bookings: 0484/57.95.58. 🎧🎧 LINKS 🎧🎧 Facebook: https://www.facebook.com/profile.php?id=100010266637602 Soundcloud: https://soundcloud.com/benjke_4 Beatport: https://www.beatport.com/artist/beyond-space/417426 🎧 Podcasts available here: 🍏 iTunes → https://podcasts.apple.com/be/podcast/groovegsus-livesets/id513117071?l=fr ☁️ Soundcloud Sets → https://soundcloud.com/groovegsus/sets/radio-show-groovegsus-friends 🎧 Deezer → https://www.deezer.com/en/show/3401932 📻 Player FM → https://player.fm/series/groovegsus-livesets 💬 Like, share, comment & join the community! 🔊 A fresh dose of quality electronic music awaits you every week 🙌💃 #Groovegsus #RadioShow #melodichouse #LiveSet #ElectronicMusic #BelgianDJ #MusicIsLife #DJSet #DeepVibes

OddKidOut pulls up to talk creativity, career pivots, and how he built a lane by refusing to stay in one lane. From a wild “one night in LA” moment that turned into living with Skrillex, to learning the power of simplicity, motifs, and world-building inside a track, this episode is packed with real producer talk.We get into finger drumming, Maschine, Ableton workflow, label experiences (and what labels actually do beyond “plays”), and the mindset shift that helped him go from experimenting across genres to funneling his sound into a stronger live show + artist identity.In this episode:The Skrillex story: how one session turned into moving to LA and building a careerThe biggest lesson from watching Skrillex work: simplicity, callbacks, and using what's already in the trackWhy OddKidOut avoids reference tracks, templates, and overthinking—“fishing” for ideas insteadMaschine as an instrument (not a DAW): why it's strictly performance-first for himHow he navigated releasing across major labels—and the real “perks” that matter (touring, games, community, opportunities)Performing without CDJs: how to make venues/sound techs love you even with extra gearEDM friendships vs business relationships: building real connections without forcing itIf you're a producer trying to find your identity, improve your workflow, or understand how to play the long game in electronic music, this one's for you.

The Brazilian party starter unveils 60 minutes of sun-drenched house. Minas Gerais isn't the typical Brazil of postcards. Yet from this landlocked terrain emerged one of its most accomplished sons. As OMOLOKO, João Vitor has mastered the art of summoning summer on the dance floor. Armed with a pair of CDJs and a USB, he carries sun-kissed house dreams shaped by countless hours lost in Discogs rabbit holes, forgotten corners of YouTube and the dust of hidden record shops. Vitor was born in Rio Grande do Norte, in Brazil's northeast, before moving south as a child when his family set out in search of new opportunities—a well-worn path in the world's fifth-largest country. Adopting the alias OMOLOKO in the late 2010s, he quickly became a beacon in Belo Horizonte's bubbling electronic scene. Carrying sounds from home deep in his memory alongside a restless desire to make the world dance to his own findings, he carved out a singular voice with genre-hopping sets, grounded in an affection for infectious grooves and warm, rolling kicks. In recent years, Vitor's fine-tuning of his craft behind the decks have made him more than a familiar face at countless essential nightlife hubs around the world, from Panorama Bar to Dekmantel, São Paulo's Gop Tun to Ibiza's DC-10. His résumé, already impressive, is expanding nicely. So to mark the beginning of carnaval in Brazil, who better for RA.1025. Vitor's RA Mix draws deeply from the lineage of house's most celebrated names, alongside obscure gems your Shazam wouldn't dare recognise. With slow-cooking patience, the session follows wherever the language of dance leads: South African kwaito, diva vocal flashes, funk-laced deep house, vibraphone-led strides and salsa-laced drumwork. It's like a dream team of house offshoots, all meeting for the very first time at the beach. Read more at https://ra.co/podcast/1044 @OMOLOKOO

Ian G steps up with a feel-good house session rooted in piano pressure and proper dancefloor soul. A UK DJ and radio host on a mission to push piano house back where it belongs, front and centre. Ian's sound pulls straight from the 90s, then tightens it up for now. Big chords. Vocal hooks. Uplifting energy. Music that works at 2am and still hits on the drive home. This mix is a clear snapshot of that world. From the warm groove of Universe and the swing of Size 10, through to the hands-in-the-air moments of Tell Me On Sunday with Angel Johnson, fresh from Front of House Recordings. There's also a nod to classic house attitude with Lisa Marie Do That To Me alongside Luv Foundation (UK), plus plenty of modern piano-led cuts built to lift the room. Ian's story runs deep. Decades in the game, from vinyl to CDJs, Ministry of Sound to ADE, with a hard reset along the way after a serious accident and stroke. The comeback is real. Sober, focused, and locked in on the sound he loves. Releases on Perfect Havoc, Phonetic, Let There Be House and more have backed that return, with Beatport No.1 success and growing support across Spotify and Apple Music. This is piano house with purpose. Timeless, positive, and made for the dancefloor. ⚡️Like the Mix? Click the [Repost] ↻ button so more people can hear it!

Now, and??? Okay! Just another dime, And just enough to find Before I count them up to dollars— But you're turning into wine. What did you ever want? This is my other world. Go shatter you tantric catwalk elsewhere! Don't you know there is a show to put on? A wool to pull over the eyes of the unknown? Why do you have to groan at the quantifiable harm known but justice undone. No harm, no foul No food, no valid excuse for betraying my sacred dopamine, but hopefully you know only no good But words can come from it, And words that fall on blind eyes have no context at all. {Enter The Multiverse} Uncorrected transcript. [excuse my neighbors in the background they're determined to make my life miserable more than likely in exchange for dollar signs.] Okay, my Wi-Fi is off, my Bluetooth is off. Oh, my laptop is open, my Wi-Fi is on. I can give me a second to remedy that. Hello. Hello. I'm Atticus's tail says hello. What's going on? Oh, I wasn't planning on oh, my WiFi on my computers off. That is good. Uh, I keep all my devices uh, at minimum on off the grid as often as possible. Um, there there actually it's crazy how much of a difference this makes. I gotta pour myself some coffee. it is almost midnight, o'clock. Hello, um, what's up, we're missing talking episodes. Um, we're missing talking episodes from season 12. I can't find anything like past October, and I know it's on one of my hard drives, but all of my hard drives are full, um, I have like something like 10 terabytes altogether of stuff that needs to be like moved around and not all of it. Some of it's like really personal, like not personal, but like sensitive information that I can't necessarily utilize a cloud for. So I am it's taking me some time to organize some stuff. I I try to do between like eight and 12 hours of just organizing on any typical night after my uh exercise or whatever, or between I would say that exercise is definitely like the primary function of like my life. And that's like the priority right now, especially with the things that I've been going through. I think it's really important to keep my physical and mental health as um in in it's not gonna be at its peak, um, because of the noise pollution that I've been dealing with, and it's actually made me really sick over this extended period of two times. um, and I'm trying to um seek treatment for that, but it's a uh it's a long road, I have a long road ahead of me. We could just say that. Um, which is why I am giving you guys, um, some stuff that I've been working on that's not necessarily finished, and I'm actually really like, I'm embarrassed because I don't necessarily um I I actually have a hard rule of not releasing any music until it's absolutely finished. like even if it is a first draft, like it still has to be finished. um, but I actually and I gave you, I think, I think two tracks, which is actually four. um because this upcoming project, it's a concept album called a symposia. um and the concept for it is um a lot. I don't necessarily have to explain right now. Um, but all of the tracks so far on it are double tracks, and so it is typically I've always really loved albums that have that are like gapless. I don't think through my distributor, like I can never technically um, like put out an album that has no um technical stop or start between songs, like they would have to be cut a certain type of way that, like my distributor does it. There's always gonna be a gap between my music, but um all of the tracks are um double tracks, so they're all two tracks in one, um that are kind of along the same theme or idea and um like lead into the next track. I've always loved albums like that. uh, one of my favorite compilation albums, um like just to give you an example, just to throw it out there, is like, the Beatles love album, which is not actually a Beatles album. It's just a, um, it's a compilation of their um songs made for the Cirus Sole show that I think is still playing in Vegas. I don't know if it is it's been playing for like 10 years, and I still haven't seen it. um I really I really want to take mushrooms and go uh see that show. I've wanted to do that since it came out, but my favorite one of my favorite albums in the world is the love album, which is is basically a mash up of like their greatest hits, crafted by, um engineers and people who used to work with the Beatles and stuff for this uh Cir dis soet show um in Vegas that I hope I get to see I hope it's just one of those like long standing like like Siegfried and Roy. I just realized that they were in Vegas for like 40 years, like they were just there, they were just a stable, so hopefully that show is um kind of like that and one day I'll get the, uh one day I'll get the opportunity to see it. Like my my bucket list, like destination, like vacation at one point was to go see the Beatles love on like an EDC week. um that's still something that I want to do. I promise myself I wouldn't go to EDC unless I like ever got booked there. Um, and I think this year is like 30 years or something of EDC, and so they um they sold out in like five minutes. um so it's it's not it's not something I'd consider doing by myself anyway, unless I was gonna go with my best friend, and um and I was like I was talking to my best friend and I was like, oh, maybe I should check on, like the early bird tickets for ADC, and they were like, they was sold out, and was this celebrating 30 years, and I'm like, okay, well, I guess I should uh work on getting a booking agent, but my music is not my music is kind of turned into like a passion project. um, since everything that I've been going through over the last couple of years kind of just like took me off my path in that sort of way and DJing, I kind of wanna preserve it as like, I really love being a DJ. I really love producing music and because it's so consumer, there's a bunch of people in the industry that are not necessarily like music oriented or love oriented, and it's just like a whole different vibration from like the peace and the love and the unity respect of that. Like I like the scene for. I really want to check out, like as far as a festival goer is concerned, I really wanna check out some of these new festivals that are popping up that are doing like no cell phones. I kind of wanna check those out, cause I feel like the quality of of the experience has been preserved or will have been preserved in in certain spaces like that, um, but anyway, I'm uh I have been physically ill for like a few months now. um, and so the best that I can do for you guys my audience just because I'm not sure if I will get symposium out this year in which case it will come out next year. um, and then I think this track, I'm not sure, this track is definitely like a track that was in my mind. um implementing all of the like sound design stuff that I'm doing for symposium and is also a double track. um it's called Forget me nots. uh and then the second track is followed through. uh,get me nots/follow through. I think it's like an eight or nine. um minute track or whatever. It's not finished. Um, actually, the only finished track that you guys have heard, and even this even bitter butter and southwest of your scars is like a double track that is finished, that is on symposium, but it's still the version one, like it's not um I haven't done like any of the final mastering or any of the things that I do in the process of getting ready for a a release. I do have like a a like an implemented ritual structure of doing things like that, even for projects that seem like mindless, or, you know, things that are seem seemingly just like thrown together, like chasing dragons, was kind of like not necessarily even a concept until the three tracks were like sandwiched together, and I was like, oh, okay, like, this does tell a story and and they were all created in a certain way so that they'd go together. I think I fixed that. um, because, um, chasing dragons, the EP was for some reason, when chasing dragons got released to, like all the major platforms, it had chasing dragons was the first and the last track, and then dishes and the sink was just in the middle, which was weird. um so the third track on chasing dragons is actually immortalist and I got that all fixed. and I also got the regular like the normal version of the songightfall is out on the platforms now. Those were two er errors um that I needed to fix that I finally did. um but I'm slower to do music things now because like I said, my health is the priority. So it's like, yo, if it comes down to like getting a good meal in or like some good exercise or like right now I'm doing active recovery because I'm dumb. I went from like not really running anymore and only walking for an hour every day on the treadmill and doing like an hour between one and two hours on the pelotone, a day which is technically still three hours of work, um, but then I went back into heavy training the way that I preferred to do like I prefer to be at the gym between two and three hours every day. That is my ideal. That is where my body feels comfortable, um and flexible and like happy. Um, and if I can do that in the very beginning, like to start my day, cause I don't necessarily have 24 hour, like days anymore. um like what's technically the end of my day is oftentimes the very beginning of other people's days, and so I'm kind of just on on night, like, routine because it is like, I'm I'm basically just like protecting myself from the uh, you know, like my my nervous system can't take any further damage. Like, I do have really pronounced synesthesia and, um, I wasn't necessarily like planning to be exposed to extreme like noise pollution for an extended period of time without having the financial security or stability to escape from it, cause honestly, if I could have moved, I would have moved or if I could have just left, I would have just left, um, but I obviously wasn't in a situation that I could, and so I became very vulnerable um, to this type of attack, which I learned was actually very common. It's not something that is just like, oh, you know, um, this is just something that I'm going through. It's actually a very common for people of color to be, um vulnerable to this kind of disease that comes from um an implementation of using sound as a weapon. And I mean, like the irony is is that I was already kind of studying synesthetics and the way that, you know, as a culture or the way that in as as far as like mass consumerism is concerned, that's why people pay so much for a, you know, festiv for the festival experiences because sound can be a very much uh manipulated to be a physical thing. It's not, you know, it's not invisible. And so the fact that those same kind of um those that same kind of engineering can be implemented also in a negative way to have a negative effect. Like, you don't have to punch somebody in the face, like, you can just back up your exhaust, your engine exhaust, and, you know, fire at point blank to somebody that is, you know, caught off guard. and in that way, um sound can be used as a weapon, it uses the same dynamics, the same kind of dynamics as, you know, the reason why we go in the th you know, in flocks by the thousands and the millions to these festivals to feel the vibrations that that are on the opposite end of the same spectrum, the healing vibrations of, you know, certain things. and so I've been doing my best to try and, you know, maintain a certain level of health through, you know, using, um, you know, certain frequencies to block out. But when it's your physical person is in a space that's being manipulated to be on a certain frequency, um, uh, the exposure to this negative frequency that is unnatural to your body over a period of time. um, you begin to get very, very sick and that's what's happened to me. And so I'm trying my best to like keep my head above water and, you know, stay afloat. Um, but I didn't expect it especially after, you know, a period of like two or three years before that, where I was just like on the go all the time. Um, and, you know, not necessarily having like a a suitable foundational stability or a place to call home and then going straight into something else that was like more traumatic and more violent than, um then I expected, and so I've been trying to remedy that. um, the best that I can and because I'm putting my mental health and my physical health first, I'm not necessarily like, I it was weird. I was kind of in like a meditative space and I had, you know, like this this kind of spirit come over me that was like music, you know, music is gonna be there forever. like, as long as you're as long as you exist, you know, whether it's in like a physical realm or like an infinite realm or whatever, like as long as you exist, there's always gonna be music. and that was kind of like the sign that like, K, as much as I do like having a streak of, you know, like being an Ableton every day for several hours a day. um, the way that I am using these techniques that I'm applying in symposium and as seen on TV, which reminded up being a double album, because I actually have, um, like several, um, tracks that are like honestly on TV, I've been working on since, like, 2023., like, early 2023. Um, and so, the things that I've like collected, it's kind of interesting because my evolution as an artist or like my technique as a producer will be, um represented here in this project, which I hope comes out next year, but I can't say for sure, cause it's probably the it's definitely the biggest, most um important album I've ever worked on and I I put a lot of care and thought into those as seen on TV tracks because it does um like creatively, I guess, run alongside this series into the multiverse and all the series within the festival project, uh Ascension Death Wish, legends, um the legend of uh, the secret life and the sweet life of sunny Blue, just to name a few, there are I keep trying to make like a list of all of the shows within the festival project, but then I'm like, oh, like there are so many that it would it just falls apart. And so I mean like I'm getting a little bit more organized with the with the actual structure of, like, the television and movie, like, script part of the project. um, while I'm cleaning out my hard drives, but having to organize everything so that it's, you know, so that I can go to a certain hard drive and be like, okay, well, this is um, you know, this is this season to this season. I'm still archiving episodes from, you know, 2021 and and because a lot of those statistics can't be like once I delete an episode from the podcast, it goes away and all the all the statistical information about the number of downloads,, like all of its information, all of its metadata goes away. and that's very important for what I'm going through in my personal life right now in order to protect myself for those things to be taken down, but also for it to be archived in a way that I can reference as a creator like, okay, this is this day that this was published with this, that like, because it's it's a time travel concept that is multifaceted, and it is like based in this multiperceptory m multiperceptory multiimensional concept of technically technically infinite time and space, like it has to be organized in such a way that, like, all of the series and all of their all of the ways that they're connected to any particular parallels have to be, you know, they have to be organized and documented so that because I'm the more that I'm looking at it, the more it makes sense. I'll be like, oh, like, I thought this was just like nonsense or whatever, but when I'm putting it into like an organized space, um, and to me, that's like the god part about it is that like, oh, like, um like, I' I'll be looking at the writing and noticing how it takes like particular shapes or how the shapes will cut is sometimes like make pictures, like sometimes when you're looking at the clouds and you see, you know, shapes and the clouds. sometimes the riding for this project is like that, which is kind of incredible to me.c it's not something that I'm doing um, intentionally, it's kind of just something that's happening. I'm writing in a stream of consciousness that's also, you know, like artistic, creative in a way, that kind of has this, like, sense of divinity to it that I'm not necessarily, like, consciously doing. Um, so everything has to be organized in such a way that like it is gonna take time, um, and because it takes time and a lot of the other things that I did not foresee happening or also taking a lot of my time, like a lot of my my time and energy to document like how sick I've been getting a lot of time and energy has been focused on just like, doing the research on, you know, like crazy crazy shit that I never really took interest in, um, but could be applied here. um, could be applied to this situation and and kind of just finally being able to have a piece of mind to give myself the benefit of the doubt that, like, it wasn't in my head. like, I just had to be uh, I just had to be pushed to the point that I could understand, you know, that this um, sometimes very silent type of, um, you know, warfare is is like a documented not even necessarily historically, but like presently and present day. um, they're just I don't think haven't been enough survivors of this kind of thing, um, that it could be, um that it could be notably researched, like the amount of reports, but, you know, it's it's not it's not by choice, like it is taking up a lot of my time and I wish I was the kind of person that could just ignore it. Um, but I'm getting very physically ill. Um, so I can't, like, I can't ignore the fact that, like, you know, I'm running on zero pretty much all the time, and that my my patterns of speech have changed in my, you know, my thoughts have been intercepted and my, you know, like, because physical and mental health is such a priority to me, the fact that those things have been the primary uh, source of degradation has has affected me in such a way that it's not, I mean, like, it's less emotional than it is the logical answer to, you know, like if you have a cold, you take cold medicine or if you have the flu, you take, you know, it's it's like, well, remedying something that is a fi physical illness, you know. um, removing the cancer from the body, uh, you know, in such a way that it doesn't come back is kind of my main primary concern in this way. Um, so I am am especially because I can't but the talking episodes are actually more popular this season than any other season. and I can't find like six or seven of them, because I I don't know, I was just switching out all my, you know, uh my stuff so quickly and pulling things out of the cloud that it, you know, got saved under drive zip eight, seven six nine, you know, like. It's it's just a mess of of terabytes and tabyrites of creative work, um, and, you know, other things that I've had to dedicate my time to, which is not necessarily fair, but, you know what they say is life is not fair. Um, so, you know, life hasn't been fair, but I have, you know, been blessed in such a way that, like I I I've at least been able to um creatively channel some of the some of the energy and some of the time that I have left over that is technically mine. while in the sense that I've had a lot of my time and energy just stolen in siphoned, um, you know, I have been able to kind of forge a medium through fighting this that allowed me to, you know, start doing art along the lines of, um more more the way that I want my music to to think and feel. And so I'm I'm still just working from a little tiny MacBook air. um, so my, you know, um, my projects get like overwhelmed really quickly. I can't necessarily implement all of my um my plugins or all of the tools that I like to use at once, and so everything is kind of segment segmented in the way that I'm working. um and like, yeah, my projects get overloaded very quickly. um so the tracks that I'm giving you are not finished, but they're more um I would say like they're more, like colored, they're more like filled out. It's not necessarily abstract in the way that some of my stuff is like very like, you know, like drag and drop and cut and go, well, I do a lot of like, even in my even in my like my cut and dry stuff, I do a lot of sample manipulation. I very rarely will keep a sample in the way that it is without doing something to it, you know, like, I don't do dragon drop, um, unless I'm planning on just, like, you know, giving a beat to a rapper a artist for free. like, sometimes I'll just be like, okay, for the next 15 minutes, just do, like, something, you know, like a two or three minute, like dragon drop or whatever. But those those are not necessarily tracks that I A share here or B like plan on doing anything with because the world of sampling has gotten to the point where it's like, yo, you gotta have some creativity, like you can't just open up a sample pack and drag it and drop it into place, because then you have eight or nine songs that sound exactly the same. Eight or nine songs that are the same because basically you're just putting together a, you know, you're putting together stems from a track that was already created, you know, by somebody that's trying to sell you something, so um, you know, I I take a little bit more creative uh integrity in the stuff that I do mean seriously. Um, a lot of it lately hasn't been serious, but I I actually did want to take an hour to talk about this not this track in particular, just talk about why I'm doing this because it was something that it was like, oh, I feel like this project is a little bit more special or is a little bit more like technical than some of the other work that I've shared here on this podcast or work that I've put out before and so I kind of wanted to keep it to myself um, but then I've kind of had a couple, like, you know, like heart shattering experiences that make me realize, like, you don't know. like, you don't really know what's gonna happen and life is, um, sometimes very cruel and sometimes life is, you know, it just takes turns that are not necessarily. um you know, like you don't you don't ever know. And my mindset has not necessarily been that negative. It's like, oh, everything, you know, there's a there's a reason for everything, and blah, blah, blah, and I still do believe that, but like, you know, two years of constant, like, torture and stress to the point where I don't necessarily have a medium for support or, you know, um, like, I don't necessarily have the foundation of community. um, being in a place that is not my home and coming from a family that's very, very small and doesn't necessarily have, you know, well, like, I don't have what some people have, I don't have a large network of family and friends and the kind of family and friends that you create for yourself in the business are not necessarily, um, you know, like people can't necessarily be trusted to have your best interests. Um, especially especially if you are coming from like a a margin for success that, you know, is documented, like you've done well, you can't necessarily still believe that, like, everyone in your immediate circle has the best interest for you, because it is in human nature that everybody has, you know, themselves as the primary interest, and so um, me being like a a solidly um you know, like self sufficient. I won't say independent person. um, driving towards independence or whatever. um, but being a person that spends a lot of time in solitude and with enough respect, like enough self-respect to understand what my when my spiritual and my personal boundaries are being pushed even even in a person you know, professional setting. um like I took today for active recovery because I'm dumb and I went straight back into training as if I'd never really stopped. like it okay, like I'm on the Peloton seven days a week and I have a treadmill that I walk on in for an hour a day, you know, five to six days a week, but it's not the same as like being in the gym and lifting in stri strength training and and um active recovery um but I was like, okay, if I was running like a Madonna or whatever, you know, for this amount of time, then I should be able to do that. I should be able to do that. No, I didn't run a Madonna, but I ran like a 3K and then a little bit. and I like, my body was like, yeah, this is good, but then I had, like the rest of the day and I did not properly hydrate, and I got, like even more sick. and so I'm like, oh, fuck. Like, I really got like I really got a prioritize, like, my physical health, because if I keep letting myself get pushed, you know, like over the summer, before requisite when I was just like, oh, you know, like, I'm just gonna record. I'm gonna go to Manhattan 20 fucking days in a row and not take a day off and I'm also gonna train, you know, and I'm also gonna do this, like the like, I'm maximized my potential for burnout, which also left me per like, personally vulnerable. to the, like, professional sabotage and, like, weird, underhanded, like, underbelly shit that, like people in the DJ circuit are doing because it's so hard to actually break through., from the level of like consumer professionalism right now. So people are doing like a lot of nasty things to try to get that main stage spot and I wasn't like in my head, I'm still very much like a Disney kid, like, I'm still like, I don't necessarily well, I mean, like Disney to teach us like, there's always gonna be a villain, but like, a society kind of undoes that teaching and is like, but that's just in movies and that's just in your head, but there's no like to me, I there is just this weird misst up between real life and what is told that like, okay, like anything that exists that is like in a certain field of negativity is just in your head. but, like, evil is it like a documented source of the opposite of good. since the beginning of time, and I just don't understand in how in a society we can philosophically and psychologically embrace therapy, however, when it when it comes to, like, real lived experiences, when you're dealing with something that is not necessarily, uh, like a normal part of societal living, like that stuff only happens in movies. I'm like, but it does happen. Sometimes you just have to, you know, like being having I've I've never really been such a socially dependent creature. like, a lot of people have to have some kind of validation. That's why social media is like ruling our society right now. is because people have to have the validation or the likes of whatever they're doing is like cool with the rest of the group. and to me, that this is dangerous group think. like, if you're all thinking the same way, then there's something being missed. There's always something being missed, you know, if you're all on the same frequency or the same form of thought, you know. And so, I've always been like a big, you know, maybe it's just because I don't have any siblings. I've been like a big believer in embracing, um, independent thought, like, okay, if everybody else is thinking one way, then what is the opposite of what everybody else is thinking and not necessarily alluding to the fact that the opposite might be the right thing, but anything between whatever the group think and the opposite is, is also like valid, could be valid, you know, it's not necessarily the opposite of what everybody's thinking, but it's somewhere along the spectrum of maybe that or maybe the opposite, like it could be anything else in between. And so I think I'm the kind of person or the kind of thinker that's motivated by the the spectrum, you know, the spectrum, uh process, anything in between, like not necessarily that, not necessarily the opposite of that, but like what other possibilities, you know? um, could be validated or verified through thinking outside of the box or outside of a you know, being forced to the point of conformity that, like, everything sounds the same and everything looks the same and everything has like a way. That's not necessarily wrong. um, but also not necessarily the only way or right. um, so that I' of been uh what what did I get on that round about? I don't know. I've just been playing with like a lot of different concepts, like not necessarily trying to sound like anything. or anyone, and also not necessarily having the opportunity or environmental expression, like the space to be able to sound like myself. Like I still don't artistically or musically think that I sound like myself. um, and that they are elements of myself there, but it's something that's kind of, um, in its, you know, convex form of being this thing that is potential, but not necessarily fully realized or realizable yet. Like, I haven't had I haven't had peace and I haven't had like full p I haven't had peak health in a long time, or a safe environment in a very long time. and I think that the disallowance of comfort, not necessarily the safity of um of complatancy, you know, or or being comfortable to a point that it's it becomes dangerous, um, but just being able to kind of be in a life that is not necessarily like violent or terrible all the time. I think removing these barriers has not necessarily been a foreseeable reality for nearly a decade and while some artists technically thrive in what is, you know, what is this, you know, tragedy and darkness? It's there's only so much of a certain space that my creative ingenuity can take up and not void. And so, understanding that this time is kind of transitional in the sense that eventually it has to in no matter what direction break free from its current state of, you know, entrapment and its current state of imprisonment. um and so in my artistry and not will change, but I don't think I don't think it's necessarily going to be like fully realized until I have a a a point that I'm in an environment that I can breathe and be and think clearly without the force of control or being subjugated to, you know, a certain level of violence that's not necessarily always physical, but is certainly not, um, you know, without it's notable, um, impact on my physical health, my physical and mental health. So that being said, um, this track, um, this track is somewhere between symposium and, um, as seen on TV, I think I began writing it before the concept for symposium was fully formed. and, um, I think it was like the first of its little group of double tracks and I didn't necessarily mean, like, for the story, cause it, you know, ideally, like a song is like five minutes or less or whatever. um five minutes or less or whatever, but I've again, not been, uh, trying to conform to what is supposed to be this, or what is supposed to be that, and, um I don't know. I I began writing it in with the mindset and the technicality of symposium, but also as I listen back to it, um, I'm also using elements that have been implementing for the last few years into as seen on TV. And so there's some like to me, it's very beautiful. Again, what what is more important or more, you know, like wh what is more palatable for my audience is always differed like my favorite tr tracks are not your guys's favorite tracks from what I'm looking at for for the numbers, you know, my favorite episodes of me talking are not your favorite episodes for me talking. So, I mean, like they're exists here, this obvious, like, it's weird because a lot of artists can be applied to their fans and to their listeners. It's like the the listeners are being projective of like they see themselves in their favorite artists, or they see themselves reflected back through an artist that they, you know, like Taylor Swift, like, all her fans are Taylor Swift and like, most artists are that way that, you know, they're reflective of the people that they look like and have the same experience of and that's how, you know, um, that's how mass that's how mass media works. It's reflected, you know, through the medium of sorts, you know, um it as a as a concept that is shared amongst all all of those, you know, people. um, but I'm looking at my numbers and I'm realizing that, like, oh, there there's like a distinctly different flavor from the way that, like, my perception of what is my best work is and what my audience thinks is the best or, you know, the like I look a lot at the numbers not as they happen, but like over time, whereas I'll be in hiatus for a certain amount of months and then I'll come back. and see what the numbers are reflecting in in what is more, you know, palatable for my audience, like what my audience is is actually agreeing with more is like my better work and it's always not it's not necessarily again, it's not necessarily opposite. but it's not um, you know, it's not always what I expect to be. So this to me, I like um, but it doesn't necessarily like that you, whoever you are as an audience is gonna agree. Um This is actually the least completed track. um I feel like I'm showing you yeah, like I'm showing you my my uh it just it's naked cause it's very much not done. This is probably the most incomplete thing that I've ever, like, put out for anybody else to listen to. Um, but just being audit honest as like a person, not like as a entertainer, cause I don't necessarily see myself as that anymore after these couple years. Um, but being honest, like as a human being, as like a person, um, I've had some times that feel as though are, you know, an indication of not having a very prolonged experience in this sort of way. And I don't, like, I don't wanna put a trigger warning on anything. And I don't wanna, you know, like I I also don't want to insinuate things that are not there. Um, but a lot of the time, that is just to say that I don't feel safe, um, that I don't feel, um safe or secure, um, and that there's not necessarily a like sh it's just New York City. There's no level of like autho like a there is no necessary authority complex that has any sort of like, ability to protect you, you know, from uh certain experiences that are not necessarily um, you know, there's there's no level of protection from from, you know, there there are more heavily funded organizations that are like banks and investments or are more funded than the police. So when you're telling the police, like, hey, I'm being, you know, stalked or harassed and like, there's a pattern and like, here's the evidence and they won't even look at your evidence. Um, even though technically by the law, like it is, you know, documented uh, verifiable, like verifiable, like, no, there's none in my head. Like, I have like the videos, I have pictures, I have audio recordings of like this is happening to me, and they won't even look at it, um, not necessarily because they don't want to, but maybe because they've been trained to look in the other way. Um, and then, you know, just the cultural disadvantage of like, youre snitch. I'm like, I'm also within inches of my life sometimes. and nobody's helping me. Um, and it's not necessarily a mental condition. I think that more now than ever, I would be like readily willing to admit like, oh yeah, like, I should just take the meds, but I'm like, this is I'm not hallucinating this. I'm not gonna take some kind of fucking pill for some kind of medication for something that's like, I'm experiencing this, and not only am I experiencing this with like my eyes, my nose, my ears, like, I'm now videotaping 100% of my life everywhere I go. If I walk out the door, I'm recording, like, that's how many times I've been stalked or followed. Like, if I walk outside of my apartment, like I'm I'm videotaping it, because if I don't, if something happens, then it's literally their word against mine. and the police is, like, literal their whole thing is like, if we didn't see it, it didn't happen. Like, you can get you can get, like beaten within an inch of your life and the police can show up and you can tell them and they can see you like bleeding from the face or whatever, and be like, that guy did it, but the police will straight up tell you. the police will straight up tell you like if we didn't see it, it didn't happen, like we can write the report, but like we like they will not investigate. Period. They will not investigate. And so understanding that, like that opens the, you know, the possibility of like way, way more heinous crimes, you know, being able to be, um, played out without, you know, without any possibility of you having help for that, as, you know, is like dangerous to me, and a lot of the time I feel like I'm in danger, um, to me, and so, my priority is not sitting down in Ableton and and you know, getting these cues just right, like, especially with this this track. um, like it's so, so far from complete, but when I hear it, it still sounds it sounds decent enough that, like, I'll give it to you guys just in case, like like the least sometimes that I feel is gonna happen is that I just get hit by a bus. uh, which does happen almost any time I go outside. It's like, I will not get a bicycle. I won't because I'm like, that's like the easiest way to ensure that I will get hit by something. I'll get hit by something. um I will get hit by something, so I don't um I don't, you know. I'm just trying to, uh, get along and protect myself and away that, you know, maybe possibly enables me to, like, disappear. I don't necessarily need to be anybody. I stopped fighting for that main stage spot a long time ago, cause I I see that it's not about like it can't necessarily be about the love when it's about the money. and I have so, so much love. like for the music, um, and for what used to be the scene. I mean, the scene's always been kind of dirty. You pick up any book about DJ culture, about festival culture, you know, about music in the in the sense that it's been meant in the rave world has always had like a CD side to it. um because it was previously a counterculture, you know, that became mainstream and it still definitely has its like flavor, it definitely has its like, you know it's flavors to it, which, you know, is is a magnetism or like a draw, that's like, oh, there is this darkness that exists, but like, at the core of it is the frequency, you know? And I think that if there was ever going to be like a place for like a placeholder for success for me and the industry, it would be somewhere in the future when it can be a more decisive. No, what am I trying to say? Oh, I don't know. I think that money really fucks things up sometimes, and because of the amount of inequality in the world and the fact that the the world has become such a competitive space, um, that there're actually less places for opportunity for artists, even though it seems like there should be more. um I think until it's like about wellness, yeah, I think in until music can be until we can create like spaces where wellness is like at the center of these, you know, gatherings, then I don't think it's necessarily going to be like a safe place. Um for anybody, but let alone for me, because I'm very much like a fragile person when it comes down to, um, like per like the protection of my spirit and the protection of my aura, I don't necessarily want to be in a place of uh tragedy or a place of defense all the time. I I wanna go outside and and be in defense mode 100% of the time. I am right now, so um, like anything I I I kind of take it with a grain of salt in the way that like anything I say can and will be used against me. And so I don't say so much. I I don't say so much, and I want to be sure to take care of my art in a way that it doesn't is not, um, you know, so that it doesn't necessarily exist in a place of toxicity or that it's not coming from. Like, I won't sit down and Ableton if I feel a certain way. It's not just me being lazy. Like it's if I have like a certain vibration that's incurable, like it's not uh it doesn't make sense for me to, like, you know, sit down and work on a track. So this this track, uh, forget me nots and follow through. um, I think it is the first track and symposium. I don't know, because when I listen back to it, I also hear um when I listen back to it, I also hear as seen on TV, like a lot. um like a lot. And so it's kind of interesting to see those two kind of elements of my artistic personality combined, because I think the tracks that I've shared with you that are from symposium or different in the way that they're um made only one way, but this one is definitely implementing um techniques from two projects. Um, so the what are the two other ones? I think it's like talked to me about it. Is that oneosium? I think so. and bitter butter and southwest of your scars. Ah, those are all from this project, but then I I look at this one, which is technically the first of the bunch and it's so not done. that I'm like, don't put it out until it's done. and I'm like, well, and might not ever be done with the shit that's happening is kind of scary. Like, it's I might I may not ever be able to get back to a place where this is possible because of the things that are continually happening uh, to me. Um, I I don't know what the source of evil is. Like, I really don't, like I am very much a spiritual person and I do have like the tendency to believe that like no matter what God has my back so if I'm removed from one situation or existence into another, it is for the protection of that aura, for the protection of that frequency, for the protection of, you know, keeping my, you know, um my source intact, like there's, you know, certain elements or certain frequencies that can't exist in in other realms. I think that, uh, a toxic environment. Like my energ is not going to sustain an intoxic environment. It's just not. It's just not. It's not necessarily even a personal or emotional preference. It's more of like a oh, this doesn't go in there. Like this doesn't go there or I don't exist over there. Like, I don't, you know, it's not. I think I wish that I could be applied to like every space and time, but I think that there are certain drawbacks to being in energy that is applicable to anything and everything. I think that, you know, in the very rare circumstances that an energy like that exists, um it's very magnetizing, it's very, uh enigmatic and it's very charismatic in the way that, like, everybody wants it, everybody wants a piece, everybody wants to be around it, but also for that person, you know, where that energy exists, you know, for that vehicle, I think that it becomes like exhausting to the point that, you know, um, the human of of that, um, you know, the human of that energy is entirely vulnerable all the time. And so those people that are, um designated to do those kinds of jobs, having that high level of power and energy are also, uh, you know, in every sense of the word, um, like exhausted to some effect, um, and I'm exhausted, um, but I think that this last two years has been a case study for all of the like I mean, like she's just horrible things people are doing to each other to try to get ahead, you know, like to try to get a little bit of the pie just to get the tiniest crumbs or to get you know, people are stepping on heads out here. Like people are doing what it takes and they're justifying things that are technically morally, you know. so very morally, uh, corrupt and so so so bad to other people with the justification of like, that's just the way it is. Or you you gotta do what you gotta do and I'm like, yo, dude, but like again, my energy just does not exist in that space for that mindset you know where it's like you know, um because I also believe that like a certain level of justifying, you know, morally uh, you know, morally corrupt behavior eventually just makes it so that you can't get ahead. I I honestly chronically believe that, like if you're constantly fucking other people over just to get to the top, like your top is not going to be consistent with what is actually success and what is actually um freedom, you know, like, you are gonna owe back energy to a certain extent, you know, um, because you stole it in the first place, like, you can't you can't sustain on stolen energy. Like you cannot do it. Like you cannot exist in a place that that was taken from somebody else without something else in turn being taken from you. I honestly truly believed that with every like with every last breath, with every last word, I honestly believe that like that that good overpowers evil. Like, you can't sustain on something that you robbed from somebody, you can't sustain on something that you you know, that that you took, eventually, you know, karmically, um, it comes back too, and so, I don't think energy is any different. I think if you suck the life out of somebody, eventually something' gonna get sucked out of you and, uh, it's one of those things where it's like one step forward, two steps back for people who uh subsist on energy that way. I just I don't know. um, I try more and more to be conscious of my self to point where I realized that um the effect that I have on people could be, you know, long lasting. It's it's something that could be like a ripple effect, and so I'm very careful with my energy in the way that, you know, I if I dole it out, I expect I expect 39%. I don't know why that's the number. 39% to get it back. um, you know, on a certain way. And uh understanding my limits and my like just understanding my ability and my placement. understanding the, you know, the the love you make. yeah, all that. and the love that you make is equal to the love that you take. And so um also, I think that love in itself is probably the most valuable heat source and that it overpowers what is um technically needed in the society of, you know, for survival. I think that love overpowers, you know, whatever material, you know, the material sense of existence is. I think that love overpowers, whatever is morally corrupt, whatever is systematically corrupt. I think that love at the end of the day, like, really does put in its place. um what is supposed to be and what is not supposed to be. And so in because I think like living in this spirit with the understanding that like it took me a really long time. I think I having a a a victim's mentality of like, I must deserve this in some sort of way, but then understanding also like I didn't do anything wrong. Um Sometimes these things just happen and the understanding of why that is is not always attainable. Um, and so to wallow in it and to be like, why, why? You know, like, why? I mean, I think in a from a philosophical standpoint, I do a lot of this because it's like this doesn't necessarily make sense, but it has to it has to be an art artistic way for me to be like, well, it doesn't make sense, but like, you know, now I have ten pages about trying to figure, like, instead of actually just wallowing it and being like, what? Well, now I have ten pages of like this, you know, something that can be considered beautiful. you know, something that can be considered, uh, useful to somebody, maybe not now, but at some point in time, you know, because all of my work is is stored in like this digital time space, kind of like encrypted into history in itself being like a digital marker for, you know, something that very much did exist or did happen. I still believe I still live in the belief that like this, well, it's just like the overall knowing that this part, this faction of history is a very, you know, uh verifiable part of ancient history, you know, to a culture that exists like beyond our time. And so with that understanding that, like it's so crazy, because I do have this overriding kind of factor of, you know, God that's just kind of like, oh, these are ancient times. this is an ancient world and it's hard to like wrap your mind around it because youth, you know, you think of yourself in the present time of like being a, you know, a being of existence in the future. Oh, I watched the jet the Jetsons. Oh, that was so good. I watched uh the Jetsons. which I didn't know is also the Simpsons. and like every animated show that came out on it like a lot, actually. It's a good show. I got I think I gotta watch it again because I was like, oh, this is like ten different shows. It was like ten different shows. um but I watched like the pilot, I think episode of the Jetsons and I was tripping. I I was tripping. um it was just really good. Anyway, um I think what what was I saying? Oh, like this time being like a marker for actual actually being a primitive civilization. Whereas like not necessarily compared to what we know as the primitive civilizations, you know, of human time, like, you think of primitive civilizations of being like the ancient Egyptians or, you know, the Mayans or, uh, you know, the Greeks, uh loved them. I really I I almost even favored them over the Romans. almost, almost, almost, I don't know, I could talk about history and culture forever. cause I'm like, but the other Romans really, like their architecture, but the Greeks more culturally, like artistically, I think where what is the word for them? Uh, the Greeks? What is the word for them? I think there were definitely more, uh yeah, yeah, definitely more artistic philosophical than the Romans, but the Romans had like a lot, like a lot to do with modern society to the point where that's also uh admirable. I do like the Romans. They're just like shitty and violent. They're just shitty and violent anyway. um what was I saying? I don't know. I'm wrapping this up. cause I'm hungry. I don't know about a taco, though. This is technically the start of my day. at midnight o'clock. Um, at midnight o'clock. oh, that's what I was talking about. Markers for ancient civilizations. Oh, yeah, this this time is so so far beyond. But I think the the incredible thing about this time that we're living in now presently, um, is that it is so, like there's so much record of it that it does exist beyond our time for, you know, potentially millions of years and into hire and further civilizations. So I kind of live with that, like, understanding of like this this also and itself being like, a part of the ancient world as far as time is concerned, you know? like, in as much a stipulation of like any apocalyptic or societal, you know, destruction is made, like nothing really sees past, like nothing really sees past the fact that, like, they're so much historical information about our present time in the future that it is consistently creating to an adding to like the what am I trying to say? Oh, something about the multiviverse. Something about the cosmos or something. constantly expanding, because it is, but whatever, I actually just kind of made this as a real time episode to so that I could share this song and then um not really like I don't necessarily have anything for you, anything else for you in this season. um it's there. like, there are six or seven other episodes. There might even be some music. oh, all the freaky Fridays or whatever, mix tapes. Did I even post what up Wednesday? I did I did a freaky Friday on a Wednesday and it was arguably the best. of all the freaky Fridays. I don't know if I posted that already. um I don't know if I posted that already. but it's not. Also, like my podcasting distributor is kind of archaic. So it takes a lot of work just to go check on what's been posted or whatever. um So I'm I'm not going to make any promises and be like, oh, go check if that was posted. And if it is posted, I'll just maybe post it again, cause it's worth it. Um, what up Wednesdays? I did it twice, actually. um because it got difficult to do freaky Fridays. It's still kind of fucking difficult to do it. And, uh, I it pains me to realize, like, how physically affected. I've I have been. um cause it sucks, cause it's not just something that's in my head, it's like ow, like, my body hurts. like, I cannot, you know. I can't withstand a certain frequency or electronic exposure that is negative over this much time. Like, I'm just like broken down right now. Um at least I'm still capable, cause I didn't ever think. I was like, I don't think I'll ever run more than a mile again. Um, I probably should um take the proper steps to make sure that, though, uh, now that I'm running again, I take the proper steps, like, I forgot to stretch, and I forgot to drink water. Stupid. Well, I I just felt so good to run. I love those woodway treadmills so much, so much, it just felt so good that I didn't that I couldn't stop and then when I did, like my body is like, okay, like you're stupid. Like it felt really good, so I'm like, all right, like active recovery. I'm gonna do like two hours on the pelotone and then a walk. um, before I run again. and that's what I'm about to do right now. I love getting to the reunion parts of the bad girls club because as the most fighting and I burn the most calories during the reunions, I just finished to season. I just watched the season for the second time. and uh I have a reunion episode coming up, so I'm a I'm— I don't know. I'm pretty boring person to be quite honest, but here's the song. okay, I'm at an hour yet. Here's the song forgetmenot// and follow through. It's not finished. Like if I could give you a percentage on the— what are you doing? Yo, this dudes are weird all day. I'm sorry. Um. He's so funny. He's so funny. Earlier he like earlier he like sneezed. Earlier he sneezed. But like also farted and this scared himself so bad that I could not contain myself. Because he was like embarrassed. but like, also he sneezed and farted and probably could not. He was like, oh, my God. Like, oh my God. And then, uh, I laughed for like a good five minutes after that. He seemed genuinely embarrassed. I was like, yeah. yeah, that that is shocking that you can manage to do something like that. like being a cat, but, you know, oh, he did. It was good. That's why we have emotional support animals, because I needed that laugh. I don't think I' laughed so hard at anything in a very, very long time, so I'm glad I have my little kitty. my satterat, my Mr. Cat, mush matters anyway. uh, was I wrapping something up? I was.ive meods to follow through. this song that's about to come up, and then I'm maybe I'll maybe I'll if it's not out already. Well, if it is, here it is again, what up Wednesday? I'll go dig it out of the fucking archives. you guys couldn't have that. decent. Um, keep in mind that the CDJs at the radio station, where do Freaky Fridays are also very archaic? Um, I'm not complaining, though. I don't know. I don't know if I got to the episode where I was talking about that. Uh, or maybe I got I got fi I gotta figure it out. um I gotta figure out where these episodes are. There's like six or seven. Should I uh honorable mentions or dishonorable mensions? I feel like it borders on both. because I just figured out what apparently the six seven phenomenon is. And I'm actually worried about suburban children, like, having act like, why are they saying this? Because I looked up I looked up where it came from, it came from this rapper called scrilla dude. not gonna lie. One of my personal favorites, cause I love rap, that is terrible to a certain extent. um and it is, like it's not only it's not only like it's not lyrically terrible. He's actually really good um He's actually really good whatever he's saying. I know what he's saying, which is what's terrifying that, like, apparently suburban upper middle class and upper class children are saying this. six seven thing, because it came from this video by this rapper called Skrilla do doot. Yup. and well, it's culture music, like it's it's trap culture music, it's not necessarily drill, but it's done in the style of drill. um, talking about like the culture the culture the culture um that is not necessarily like great. cause he was talking I was like yo. what the fuck are children saying this for? Um, what the fuck are children exposed to this for? Because there was no, like parental block on it or anything like that. And the dude was talking about like, straight up murderer. He was like, yeah, m, like this though. And I was like, oh no, like I I actually kind of dig his music because it's it's like it's the music that was born of like the Young Thug and the low Wayne and themehesine and it's bad. It's really bad. Like it's really bad. like if your kids are saying six seven, like, the origin of that is not, I'm like,o, shout out sc a d do, because that is facts, but also like, like like kids should not necessarily like, everything he was saying and all of his songs, I was like, that's bad. That's bad that you said that. not that you shouldn't, actually. I feel like there, like art exists as a medium to be able to have this level of freedom of speech, and that's why it exists. But also like, if you understand which I think kids obviously don't if they're just like, oh, six, seven, I'm like, okay, like, but obviously, like, this is where that came from. Like, and this is where that came from, and the dude is talking about some stuff that I'm like what? Like, I'm not confused. I know what he's talking about. But like, children should not necessarily like, even if they don't know what he's talking about, this is not like, this is different from like, when I was like, 10 and it's getting hot in here. So take off all your clothes, like that came out or like to the window to the wall, like this is mild, those things are mild, compared to like, the shit that scrill a do dude. talks about. I'm like, oh, what? What? And apparently we little kids are seeing this and exposed to it, like, they don't necessarily know what it means, but he's like, yo, these are the lyrics to my songs. Listen. I'm like, oh, like. That's troubling. That that exists. That's troubling. truly troubling. I'm I'm not talking shit. I actually really like it, but like parental controls, like, my kids should not be exposed to this, like via the Internet. Like, you should not like, this should be something especially if you live in the subrooms like if you live in a house that has rooms, like if you live in a house that has rooms in an all. like the culture that this is referencing and you know what? The only thing that actually made me look it up was like so many people were saying it in the circuit of television that I watched that I was like, it was bothering me. It was bothering me like Labubu was, but Labubu was far less disturbing, far less. I was like, oh, no. this is not cool. This is not cool, David Letterman. This is not cool, because he was like,Yo, what's up six seven? I'm like, you're 106. I don't know why you're saying this. So I looked it up. So I looked it up, and I was like, oh no, like, okay, like we know it's a cultural fucking phenomenon, but like, do you know why? Do you know why? Like, do you know why? And do you know what this man is talking about? Do you know what this man is saying? Anyway. I'm not I'm actually not gonna say it. Like I'm not gonna say it because I think it it exempt exemplifies that's what I'm trying to say right yeah. I think it exemplifies and represents a part of the culture that is deeply, deeply, deeply, deeply wrong. um in the history of the United States of America. I think it's just bad news. It's just bad news. And it's bad news, like it exists, but the reason why it exists is terrible, like it shouldn't exist is it's terrible. It's bad. It's bad and it's bad that kids are saying this. It's bad anyway. it's really bad. Anyway, I got Peloton time, bad girls' club reunion, some coffee to reheat. Here's this song, um there's no anything else for a while. I gotta make sure that like my uh I got to make sure if I get taken out, it's by like a city bus. And, you know, not just because my insides are uh imploding. um and yeah, my insides are imploding. Uh, gotta take care of number one, which is me. So, that self serving thing I get, but, you know, I'm just not the kind to to step on heads or like, I'm not gonna make it, like, purposely harder for you to do something. Like, I do believe in free will to the point where if you're not hurting anybody else, it's not affecting anybody else's, like vibe, like, do what you want, like, as long as you're not objectively or subjectively hurting anybody. Like, just don't hurt anybody, but besides this, you know, take care of yourself, but it's not, you know. I mean, you're not causing any quantifiable harm. Go ahead and, you know? I, um, but that's it. That's that's it for me. Thank you for listening. Is that it? Yeah, forget me nots. It's not finished. I've got a lot to do. Like, I actually had this is a song that actually has like a list, like a handwritten list on a piece of paper of like do this and do that and do this and do that. But like here's what I have so far just in case, you know, the city buses be getting awful close to the curb sometimes. where I stand, I am yep, they do. anyway. um I said more stories to tell and stuff, but now it's not the time or the place. did I say my thing? Yeah, I say my. Dave you were listening. something, you're listening, see you next time. That's it, yeah. Yeah, I don't have anything else. Thank you for listening. See you next time, bye.

#DJS4DJS

Now, and??? Okay! Just another dime, And just enough to find Before I count them up to dollars— But you're turning into wine. What did you ever want? This is my other world. Go shatter you tantric catwalk elsewhere! Don't you know there is a show to put on? A wool to pull over the eyes of the unknown? Why do you have to groan at the quantifiable harm known but justice undone. No harm, no foul No food, no valid excuse for betraying my sacred dopamine, but hopefully you know only no good But words can come from it, And words that fall on blind eyes have no context at all. {Enter The Multiverse} Uncorrected transcript. [excuse my neighbors in the background they're determined to make my life miserable more than likely in exchange for dollar signs.] Okay, my Wi-Fi is off, my Bluetooth is off. Oh, my laptop is open, my Wi-Fi is on. I can give me a second to remedy that. Hello. Hello. I'm Atticus's tail says hello. What's going on? Oh, I wasn't planning on oh, my WiFi on my computers off. That is good. Uh, I keep all my devices uh, at minimum on off the grid as often as possible. Um, there there actually it's crazy how much of a difference this makes. I gotta pour myself some coffee. it is almost midnight, o'clock. Hello, um, what's up, we're missing talking episodes. Um, we're missing talking episodes from season 12. I can't find anything like past October, and I know it's on one of my hard drives, but all of my hard drives are full, um, I have like something like 10 terabytes altogether of stuff that needs to be like moved around and not all of it. Some of it's like really personal, like not personal, but like sensitive information that I can't necessarily utilize a cloud for. So I am it's taking me some time to organize some stuff. I I try to do between like eight and 12 hours of just organizing on any typical night after my uh exercise or whatever, or between I would say that exercise is definitely like the primary function of like my life. And that's like the priority right now, especially with the things that I've been going through. I think it's really important to keep my physical and mental health as um in in it's not gonna be at its peak, um, because of the noise pollution that I've been dealing with, and it's actually made me really sick over this extended period of two times. um, and I'm trying to um seek treatment for that, but it's a uh it's a long road, I have a long road ahead of me. We could just say that. Um, which is why I am giving you guys, um, some stuff that I've been working on that's not necessarily finished, and I'm actually really like, I'm embarrassed because I don't necessarily um I I actually have a hard rule of not releasing any music until it's absolutely finished. like even if it is a first draft, like it still has to be finished. um, but I actually and I gave you, I think, I think two tracks, which is actually four. um because this upcoming project, it's a concept album called a symposia. um and the concept for it is um a lot. I don't necessarily have to explain right now. Um, but all of the tracks so far on it are double tracks, and so it is typically I've always really loved albums that have that are like gapless. I don't think through my distributor, like I can never technically um, like put out an album that has no um technical stop or start between songs, like they would have to be cut a certain type of way that, like my distributor does it. There's always gonna be a gap between my music, but um all of the tracks are um double tracks, so they're all two tracks in one, um that are kind of along the same theme or idea and um like lead into the next track. I've always loved albums like that. uh, one of my favorite compilation albums, um like just to give you an example, just to throw it out there, is like, the Beatles love album, which is not actually a Beatles album. It's just a, um, it's a compilation of their um songs made for the Cirus Sole show that I think is still playing in Vegas. I don't know if it is it's been playing for like 10 years, and I still haven't seen it. um I really I really want to take mushrooms and go uh see that show. I've wanted to do that since it came out, but my favorite one of my favorite albums in the world is the love album, which is is basically a mash up of like their greatest hits, crafted by, um engineers and people who used to work with the Beatles and stuff for this uh Cir dis soet show um in Vegas that I hope I get to see I hope it's just one of those like long standing like like Siegfried and Roy. I just realized that they were in Vegas for like 40 years, like they were just there, they were just a stable, so hopefully that show is um kind of like that and one day I'll get the, uh one day I'll get the opportunity to see it. Like my my bucket list, like destination, like vacation at one point was to go see the Beatles love on like an EDC week. um that's still something that I want to do. I promise myself I wouldn't go to EDC unless I like ever got booked there. Um, and I think this year is like 30 years or something of EDC, and so they um they sold out in like five minutes. um so it's it's not it's not something I'd consider doing by myself anyway, unless I was gonna go with my best friend, and um and I was like I was talking to my best friend and I was like, oh, maybe I should check on, like the early bird tickets for ADC, and they were like, they was sold out, and was this celebrating 30 years, and I'm like, okay, well, I guess I should uh work on getting a booking agent, but my music is not my music is kind of turned into like a passion project. um, since everything that I've been going through over the last couple of years kind of just like took me off my path in that sort of way and DJing, I kind of wanna preserve it as like, I really love being a DJ. I really love producing music and because it's so consumer, there's a bunch of people in the industry that are not necessarily like music oriented or love oriented, and it's just like a whole different vibration from like the peace and the love and the unity respect of that. Like I like the scene for. I really want to check out, like as far as a festival goer is concerned, I really wanna check out some of these new festivals that are popping up that are doing like no cell phones. I kind of wanna check those out, cause I feel like the quality of of the experience has been preserved or will have been preserved in in certain spaces like that, um, but anyway, I'm uh I have been physically ill for like a few months now. um, and so the best that I can do for you guys my audience just because I'm not sure if I will get symposium out this year in which case it will come out next year. um, and then I think this track, I'm not sure, this track is definitely like a track that was in my mind. um implementing all of the like sound design stuff that I'm doing for symposium and is also a double track. um it's called Forget me nots. uh and then the second track is followed through. uh,get me nots/follow through. I think it's like an eight or nine. um minute track or whatever. It's not finished. Um, actually, the only finished track that you guys have heard, and even this even bitter butter and southwest of your scars is like a double track that is finished, that is on symposium, but it's still the version one, like it's not um I haven't done like any of the final mastering or any of the things that I do in the process of getting ready for a a release. I do have like a a like an implemented ritual structure of doing things like that, even for projects that seem like mindless, or, you know, things that are seem seemingly just like thrown together, like chasing dragons, was kind of like not necessarily even a concept until the three tracks were like sandwiched together, and I was like, oh, okay, like, this does tell a story and and they were all created in a certain way so that they'd go together. I think I fixed that. um, because, um, chasing dragons, the EP was for some reason, when chasing dragons got released to, like all the major platforms, it had chasing dragons was the first and the last track, and then dishes and the sink was just in the middle, which was weird. um so the third track on chasing dragons is actually immortalist and I got that all fixed. and I also got the regular like the normal version of the songightfall is out on the platforms now. Those were two er errors um that I needed to fix that I finally did. um but I'm slower to do music things now because like I said, my health is the priority. So it's like, yo, if it comes down to like getting a good meal in or like some good exercise or like right now I'm doing active recovery because I'm dumb. I went from like not really running anymore and only walking for an hour every day on the treadmill and doing like an hour between one and two hours on the pelotone, a day which is technically still three hours of work, um, but then I went back into heavy training the way that I preferred to do like I prefer to be at the gym between two and three hours every day. That is my ideal. That is where my body feels comfortable, um and flexible and like happy. Um, and if I can do that in the very beginning, like to start my day, cause I don't necessarily have 24 hour, like days anymore. um like what's technically the end of my day is oftentimes the very beginning of other people's days, and so I'm kind of just on on night, like, routine because it is like, I'm I'm basically just like protecting myself from the uh, you know, like my my nervous system can't take any further damage. Like, I do have really pronounced synesthesia and, um, I wasn't necessarily like planning to be exposed to extreme like noise pollution for an extended period of time without having the financial security or stability to escape from it, cause honestly, if I could have moved, I would have moved or if I could have just left, I would have just left, um, but I obviously wasn't in a situation that I could, and so I became very vulnerable um, to this type of attack, which I learned was actually very common. It's not something that is just like, oh, you know, um, this is just something that I'm going through. It's actually a very common for people of color to be, um vulnerable to this kind of disease that comes from um an implementation of using sound as a weapon. And I mean, like the irony is is that I was already kind of studying synesthetics and the way that, you know, as a culture or the way that in as as far as like mass consumerism is concerned, that's why people pay so much for a, you know, festiv for the festival experiences because sound can be a very much uh manipulated to be a physical thing. It's not, you know, it's not invisible. And so the fact that those same kind of um those that same kind of engineering can be implemented also in a negative way to have a negative effect. Like, you don't have to punch somebody in the face, like, you can just back up your exhaust, your engine exhaust, and, you know, fire at point blank to somebody that is, you know, caught off guard. and in that way, um sound can be used as a weapon, it uses the same dynamics, the same kind of dynamics as, you know, the reason why we go in the th you know, in flocks by the thousands and the millions to these festivals to feel the vibrations that that are on the opposite end of the same spectrum, the healing vibrations of, you know, certain things. and so I've been doing my best to try and, you know, maintain a certain level of health through, you know, using, um, you know, certain frequencies to block out. But when it's your physical person is in a space that's being manipulated to be on a certain frequency, um, uh, the exposure to this negative frequency that is unnatural to your body over a period of time. um, you begin to get very, very sick and that's what's happened to me. And so I'm trying my best to like keep my head above water and, you know, stay afloat. Um, but I didn't expect it especially after, you know, a period of like two or three years before that, where I was just like on the go all the time. Um, and, you know, not necessarily having like a a suitable foundational stability or a place to call home and then going straight into something else that was like more traumatic and more violent than, um then I expected, and so I've been trying to remedy that. um, the best that I can and because I'm putting my mental health and my physical health first, I'm not necessarily like, I it was weird. I was kind of in like a meditative space and I had, you know, like this this kind of spirit come over me that was like music, you know, music is gonna be there forever. like, as long as you're as long as you exist, you know, whether it's in like a physical realm or like an infinite realm or whatever, like as long as you exist, there's always gonna be music. and that was kind of like the sign that like, K, as much as I do like having a streak of, you know, like being an Ableton every day for several hours a day. um, the way that I am using these techniques that I'm applying in symposium and as seen on TV, which reminded up being a double album, because I actually have, um, like several, um, tracks that are like honestly on TV, I've been working on since, like, 2023., like, early 2023. Um, and so, the things that I've like collected, it's kind of interesting because my evolution as an artist or like my technique as a producer will be, um represented here in this project, which I hope comes out next year, but I can't say for sure, cause it's probably the it's definitely the biggest, most um important album I've ever worked on and I I put a lot of care and thought into those as seen on TV tracks because it does um like creatively, I guess, run alongside this series into the multiverse and all the series within the festival project, uh Ascension Death Wish, legends, um the legend of uh, the secret life and the sweet life of sunny Blue, just to name a few, there are I keep trying to make like a list of all of the shows within the festival project, but then I'm like, oh, like there are so many that it would it just falls apart. And so I mean like I'm getting a little bit more organized with the with the actual structure of, like, the television and movie, like, script part of the project. um, while I'm cleaning out my hard drives, but having to organize everything so that it's, you know, so that I can go to a certain hard drive and be like, okay, well, this is um, you know, this is this season to this season. I'm still archiving episodes from, you know, 2021 and and because a lot of those statistics can't be like once I delete an episode from the podcast, it goes away and all the all the statistical information about the number of downloads,, like all of its information, all of its metadata goes away. and that's very important for what I'm going through in my personal life right now in order to protect myself for those things to be taken down, but also for it to be archived in a way that I can reference as a creator like, okay, this is this day that this was published with this, that like, because it's it's a time travel concept that is multifaceted, and it is like based in this multiperceptory m multiperceptory multiimensional concept of technically technically infinite time and space, like it has to be organized in such a way that, like, all of the series and all of their all of the ways that they're connected to any particular parallels have to be, you know, they have to be organized and documented so that because I'm the more that I'm looking at it, the more it makes sense. I'll be like, oh, like, I thought this was just like nonsense or whatever, but when I'm putting it into like an organized space, um, and to me, that's like the god part about it is that like, oh, like, um like, I' I'll be looking at the writing and noticing how it takes like particular shapes or how the shapes will cut is sometimes like make pictures, like sometimes when you're looking at the clouds and you see, you know, shapes and the clouds. sometimes the riding for this project is like that, which is kind of incredible to me.c it's not something that I'm doing um, intentionally, it's kind of just something that's happening. I'm writing in a stream of consciousness that's also, you know, like artistic, creative in a way, that kind of has this, like, sense of divinity to it that I'm not necessarily, like, consciously doing. Um, so everything has to be organized in such a way that like it is gonna take time, um, and because it takes time and a lot of the other things that I did not foresee happening or also taking a lot of my time, like a lot of my my time and energy to document like how sick I've been getting a lot of time and energy has been focused on just like, doing the research on, you know, like crazy crazy shit that I never really took interest in, um, but could be applied here. um, could be applied to this situation and and kind of just finally being able to have a piece of mind to give myself the benefit of the doubt that, like, it wasn't in my head. like, I just had to be uh, I just had to be pushed to the point that I could understand, you know, that this um, sometimes very silent type of, um, you know, warfare is is like a documented not even necessarily historically, but like presently and present day. um, they're just I don't think haven't been enough survivors of this kind of thing, um, that it could be, um that it could be notably researched, like the amount of reports, but, you know, it's it's not it's not by choice, like it is taking up a lot of my time and I wish I was the kind of person that could just ignore it. Um, but I'm getting very physically ill. Um, so I can't, like, I can't ignore the fact that, like, you know, I'm running on zero pretty much all the time, and that my my patterns of speech have changed in my, you know, my thoughts have been intercepted and my, you know, like, because physical and mental health is such a priority to me, the fact that those things have been the primary uh, source of degradation has has affected me in such a way that it's not, I mean, like, it's less emotional than it is the logical answer to, you know, like if you have a cold, you take cold medicine or if you have the flu, you take, you know, it's it's like, well, remedying something that is a fi physical illness, you know. um, removing the cancer from the body, uh, you know, in such a way that it doesn't come back is kind of my main primary concern in this way. Um, so I am am especially because I can't but the talking episodes are actually more popular this season than any other season. and I can't find like six or seven of them, because I I don't know, I was just switching out all my, you know, uh my stuff so quickly and pulling things out of the cloud that it, you know, got saved under drive zip eight, seven six nine, you know, like. It's it's just a mess of of terabytes and tabyrites of creative work, um, and, you know, other things that I've had to dedicate my time to, which is not necessarily fair, but, you know what they say is life is not fair. Um, so, you know, life hasn't been fair, but I have, you know, been blessed in such a way that, like I I I've at least been able to um creatively channel some of the some of the energy and some of the time that I have left over that is technically mine. while in the sense that I've had a lot of my time and energy just stolen in siphoned, um, you know, I have been able to kind of forge a medium through fighting this that allowed me to, you know, start doing art along the lines of, um more more the way that I want my music to to think and feel. And so I'm I'm still just working from a little tiny MacBook air. um, so my, you know, um, my projects get like overwhelmed really quickly. I can't necessarily implement all of my um my plugins or all of the tools that I like to use at once, and so everything is kind of segment segmented in the way that I'm working. um and like, yeah, my projects get overloaded very quickly. um so the tracks that I'm giving you are not finished, but they're more um I would say like they're more, like colored, they're more like filled out. It's not necessarily abstract in the way that some of my stuff is like very like, you know, like drag and drop and cut and go, well, I do a lot of like, even in my even in my like my cut and dry stuff, I do a lot of sample manipulation. I very rarely will keep a sample in the way that it is without doing something to it, you know, like, I don't do dragon drop, um, unless I'm planning on just, like, you know, giving a beat to a rapper a artist for free. like, sometimes I'll just be like, okay, for the next 15 minutes, just do, like, something, you know, like a two or three minute, like dragon drop or whatever. But those those are not necessarily tracks that I A share here or B like plan on doing anything with because the world of sampling has gotten to the point where it's like, yo, you gotta have some creativity, like you can't just open up a sample pack and drag it and drop it into place, because then you have eight or nine songs that sound exactly the same. Eight or nine songs that are the same because basically you're just putting together a, you know, you're putting together stems from a track that was already created, you know, by somebody that's trying to sell you something, so um, you know, I I take a little bit more creative uh integrity in the stuff that I do mean seriously. Um, a lot of it lately hasn't been serious, but I I actually did want to take an hour to talk about this not this track in particular, just talk about why I'm doing this because it was something that it was like, oh, I feel like this project is a little bit more special or is a little bit more like technical than some of the other work that I've shared here on this podcast or work that I've put out before and so I kind of wanted to keep it to myself um, but then I've kind of had a couple, like, you know, like heart shattering experiences that make me realize, like, you don't know. like, you don't really know what's gonna happen and life is, um, sometimes very cruel and sometimes life is, you know, it just takes turns that are not necessarily. um you know, like you don't you don't ever know. And my mindset has not necessarily been that negative. It's like, oh, everything, you know, there's a there's a reason for everything, and blah, blah, blah, and I still do believe that, but like, you know, two years of constant, like, torture and stress to the point where I don't necessarily have a medium for support or, you know, um, like, I don't necessarily have the foundation of community. um, being in a place that is not my home and coming from a family that's very, very small and doesn't necessarily have, you know, well, like, I don't have what some people have, I don't have a large network of family and friends and the kind of family and friends that you create for yourself in the business are not necessarily, um, you know, like people can't necessarily be trusted to have your best interests. Um, especially especially if you are coming from like a a margin for success that, you know, is documented, like you've done well, you can't necessarily still believe that, like, everyone in your immediate circle has the best interest for you, because it is in human nature that everybody has, you know, themselves as the primary interest, and so um, me being like a a solidly um you know, like self sufficient. I won't say independent person. um, driving towards independence or whatever. um, but being a person that spends a lot of time in solitude and with enough respect, like enough self-respect to understand what my when my spiritual and my personal boundaries are being pushed even even in a person you know, professional setting. um like I took today for active recovery because I'm dumb and I went straight back into training as if I'd never really stopped. like it okay, like I'm on the Peloton seven days a week and I have a treadmill that I walk on in for an hour a day, you know, five to six days a week, but it's not the same as like being in the gym and lifting in stri strength training and and um active recovery um but I was like, okay, if I was running like a Madonna or whatever, you know, for this amount of time, then I should be able to do that. I should be able to do that. No, I didn't run a Madonna, but I ran like a 3K and then a little bit. and I like, my body was like, yeah, this is good, but then I had, like the rest of the day and I did not properly hydrate, and I got, like even more sick. and so I'm like, oh, fuck. Like, I really got like I really got a prioritize, like, my physical health, because if I keep letting myself get pushed, you know, like over the summer, before requisite when I was just like, oh, you know, like, I'm just gonna record. I'm gonna go to Manhattan 20 fucking days in a row and not take a day off and I'm also gonna train, you know, and I'm also gonna do this, like the like, I'm maximized my potential for burnout, which also left me per like, personally vulnerable. to the, like, professional sabotage and, like, weird, underhanded, like, underbelly shit that, like people in the DJ circuit are doing because it's so hard to actually break through., from the level of like consumer professionalism right now. So people are doing like a lot of nasty things to try to get that main stage spot and I wasn't like in my head, I'm still very much like a Disney kid, like, I'm still like, I don't necessarily well, I mean, like Disney to teach us like, there's always gonna be a villain, but like, a society kind of undoes that teaching and is like, but that's just in movies and that's just in your head, but there's no like to me, I there is just this weird misst up between real life and what is told that like, okay, like anything that exists that is like in a certain field of negativity is just in your head. but, like, evil is it like a documented source of the opposite of good. since the beginning of time, and I just don't understand in how in a society we can philosophically and psychologically embrace therapy, however, when it when it comes to, like, real lived experiences, when you're dealing with something that is not necessarily, uh, like a normal part of societal living, like that stuff only happens in movies. I'm like, but it does happen. Sometimes you just have to, you know, like being having I've I've never really been such a socially dependent creature. like, a lot of people have to have some kind of validation. That's why social media is like ruling our society right now. is because people have to have the validation or the likes of whatever they're doing is like cool with the rest of the group. and to me, that this is dangerous group think. like, if you're all thinking the same way, then there's something being missed. There's always something being missed, you know, if you're all on the same frequency or the same form of thought, you know. And so, I've always been like a big, you know, maybe it's just because I don't have any siblings. I've been like a big believer in embracing, um, independent thought, like, okay, if everybody else is thinking one way, then what is the opposite of what everybody else is thinking and not necessarily alluding to the fact that the opposite might be the right thing, but anything between whatever the group think and the opposite is, is also like valid, could be valid, you know, it's not necessarily the opposite of what everybody's thinking, but it's somewhere along the spectrum of maybe that or maybe the opposite, like it could be anything else in between. And so I think I'm the kind of person or the kind of thinker that's motivated by the the spectrum, you know, the spectrum, uh process, anything in between, like not necessarily that, not necessarily the opposite of that, but like what other possibilities, you know? um, could be validated or verified through thinking outside of the box or outside of a you know, being forced to the point of conformity that, like, everything sounds the same and everything looks the same and everything has like a way. That's not necessarily wrong. um, but also not necessarily the only way or right. um, so that I' of been uh what what did I get on that round about? I don't know. I've just been playing with like a lot of different concepts, like not necessarily trying to sound like anything. or anyone, and also not necessarily having the opportunity or environmental expression, like the space to be able to sound like myself. Like I still don't artistically or musically think that I sound like myself. um, and that they are elements of myself there, but it's something that's kind of, um, in its, you know, convex form of being this thing that is potential, but not necessarily fully realized or realizable yet. Like, I haven't had I haven't had peace and I haven't had like full p I haven't had peak health in a long time, or a safe environment in a very long time. and I think that the disallowance of comfort, not necessarily the safity of um of complatancy, you know, or or being comfortable to a point that it's it becomes dangerous, um, but just being able to kind of be in a life that is not necessarily like violent or terrible all the time. I think removing these barriers has not necessarily been a foreseeable reality for nearly a decade and while some artists technically thrive in what is, you know, what is this, you know, tragedy and darkness? It's there's only so much of a certain space that my creative ingenuity can take up and not void. And so, understanding that this time is kind of transitional in the sense that eventually it has to in no matter what direction break free from its current state of, you know, entrapment and its current state of imprisonment. um and so in my artistry and not will change, but I don't think I don't think it's necessarily going to be like fully realized until I have a a a point that I'm in an environment that I can breathe and be and think clearly without the force of control or being subjugated to, you know, a certain level of violence that's not necessarily always physical, but is certainly not, um, you know, without it's notable, um, impact on my physical health, my physical and mental health. So that being said, um, this track, um, this track is somewhere between symposium and, um, as seen on TV, I think I began writing it before the concept for symposium was fully formed. and, um, I think it was like the first of its little group of double tracks and I didn't necessarily mean, like, for the story, cause it, you know, ideally, like a song is like five minutes or less or whatever. um five minutes or less or whatever, but I've again, not been, uh, trying to conform to what is supposed to be this, or what is supposed to be that, and, um I don't know. I I began writing it in with the mindset and the technicality of symposium, but also as I listen back to it, um, I'm also using elements that have been implementing for the last few years into as seen on TV. And so there's some like to me, it's very beautiful. Again, what what is more important or more, you know, like wh what is more palatable for my audience is always differed like my favorite tr tracks are not your guys's favorite tracks from what I'm looking at for for the numbers, you know, my favorite episodes of me talking are not your favorite episodes for me talking. So, I mean, like they're exists here, this obvious, like, it's weird because a lot of artists can be applied to their fans and to their listeners. It's like the the listeners are being projective of like they see themselves in their favorite artists, or they see themselves reflected back through an artist that they, you know, like Taylor Swift, like, all her fans are Taylor Swift and like, most artists are that way that, you know, they're reflective of the people that they look like and have the same experience of and that's how, you know, um, that's how mass that's how mass media works. It's reflected, you know, through the medium of sorts, you know, um it as a as a concept that is shared amongst all all of those, you know, people. um, but I'm looking at my numbers and I'm realizing that, like, oh, there there's like a distinctly different flavor from the way that, like, my perception of what is my best work is and what my audience thinks is the best or, you know, the like I look a lot at the numbers not as they happen, but like over time, whereas I'll be in hiatus for a certain amount of months and then I'll come back. and see what the numbers are reflecting in in what is more, you know, palatable for my audience, like what my audience is is actually agreeing with more is like my better work and it's always not it's not necessarily again, it's not necessarily opposite. but it's not um, you know, it's not always what I expect to be. So this to me, I like um, but it doesn't necessarily like that you, whoever you are as an audience is gonna agree. Um This is actually the least completed track. um I feel like I'm showing you yeah, like I'm showing you my my uh it just it's naked cause it's very much not done. This is probably the most incomplete thing that I've ever, like, put out for anybody else to listen to. Um, but just being audit honest as like a person, not like as a entertainer, cause I don't necessarily see myself as that anymore after these couple years. Um, but being honest, like as a human being, as like a person, um, I've had some times that feel as though are, you know, an indication of not having a very prolonged experience in this sort of way. And I don't, like, I don't wanna put a trigger warning on anything. And I don't wanna, you know, like I I also don't want to insinuate things that are not there. Um, but a lot of the time, that is just to say that I don't feel safe, um, that I don't feel, um safe or secure, um, and that there's not necessarily a like sh it's just New York City. There's no level of like autho like a there is no necessary authority complex that has any sort of like, ability to protect you, you know, from uh certain experiences that are not necessarily um, you know, there's there's no level of protection from from, you know, there there are more heavily funded organizations that are like banks and investments or are more funded than the police. So when you're telling the police, like, hey, I'm being, you know, stalked or harassed and like, there's a pattern and like, here's the evidence and they won't even look at your evidence. Um, even though technically by the law, like it is, you know, documented uh, verifiable, like verifiable, like, no, there's none in my head. Like, I have like the videos, I have pictures, I have audio recordings of like this is happening to me, and they won't even look at it, um, not necessarily because they don't want to, but maybe because they've been trained to look in the other way. Um, and then, you know, just the cultural disadvantage of like, youre snitch. I'm like, I'm also within inches of my life sometimes. and nobody's helping me. Um, and it's not necessarily a mental condition. I think that more now than ever, I would be like readily willing to admit like, oh yeah, like, I should just take the meds, but I'm like, this is I'm not hallucinating this. I'm not gonna take some kind of fucking pill for some kind of medication for something that's like, I'm experiencing this, and not only am I experiencing this with like my eyes, my nose, my ears, like, I'm now videotaping 100% of my life everywhere I go. If I walk out the door, I'm recording, like, that's how many times I've been stalked or followed. Like, if I walk outside of my apartment, like I'm I'm videotaping it, because if I don't, if something happens, then it's literally their word against mine. and the police is, like, literal their whole thing is like, if we didn't see it, it didn't happen. Like, you can get you can get, like beaten within an inch of your life and the police can show up and you can tell them and they can see you like bleeding from the face or whatever, and be like, that guy did it, but the police will straight up tell you. the police will straight up tell you like if we didn't see it, it didn't happen, like we can write the report, but like we like they will not investigate. Period. They will not investigate. And so understanding that, like that opens the, you know, the possibility of like way, way more heinous crimes, you know, being able to be, um, played out without, you know, without any possibility of you having help for that, as, you know, is like dangerous to me, and a lot of the time I feel like I'm in danger, um, to me, and so, my priority is not sitting down in Ableton and and you know, getting these cues just right, like, especially with this this track. um, like it's so, so far from complete, but when I hear it, it still sounds it sounds decent enough that, like, I'll give it to you guys just in case, like like the least sometimes that I feel is gonna happen is that I just get hit by a bus. uh, which does happen almost any time I go outside. It's like, I will not get a bicycle. I won't because I'm like, that's like the easiest way to ensure that I will get hit by something. I'll get hit by something. um I will get hit by something, so I don't um I don't, you know. I'm just trying to, uh, get along and protect myself and away that, you know, maybe possibly enables me to, like, disappear. I don't necessarily need to be anybody. I stopped fighting for that main stage spot a long time ago, cause I I see that it's not about like it can't necessarily be about the love when it's about the money. and I have so, so much love. like for the music, um, and for what used to be the scene. I mean, the scene's always been kind of dirty. You pick up any book about DJ culture, about festival culture, you know, about music in the in the sense that it's been meant in the rave world has always had like a CD side to it. um because it was previously a counterculture, you know, that became mainstream and it still definitely has its like flavor, it definitely has its like, you know it's flavors to it, which, you know, is is a magnetism or like a draw, that's like, oh, there is this darkness that exists, but like, at the core of it is the frequency, you know? And I think that if there was ever going to be like a place for like a placeholder for success for me and the industry, it would be somewhere in the future when it can be a more decisive. No, what am I trying to say? Oh, I don't know. I think that money really fucks things up sometimes, and because of the amount of inequality in the world and the fact that the the world has become such a competitive space, um, that there're actually less places for opportunity for artists, even though it seems like there should be more. um I think until it's like about wellness, yeah, I think in until music can be until we can create like spaces where wellness is like at the center of these, you know, gatherings, then I don't think it's necessarily going to be like a safe place. Um for anybody, but let alone for me, because I'm very much like a fragile person when it comes down to, um, like per like the protection of my spirit and the protection of my aura, I don't necessarily want to be in a place of uh tragedy or a place of defense all the time. I I wanna go outside and and be in defense mode 100% of the time. I am right now, so um, like anything I I I kind of take it with a grain of salt in the way that like anything I say can and will be used against me. And so I don't say so much. I I don't say so much, and I want to be sure to take care of my art in a way that it doesn't is not, um, you know, so that it doesn't necessarily exist in a place of toxicity or that it's not coming from. Like, I won't sit down and Ableton if I feel a certain way. It's not just me being lazy. Like it's if I have like a certain vibration that's incurable, like it's not uh it doesn't make sense for me to, like, you know, sit down and work on a track. So this this track, uh, forget me nots and follow through. um, I think it is the first track and symposium. I don't know, because when I listen back to it, I also hear um when I listen back to it, I also hear as seen on TV, like a lot. um like a lot. And so it's kind of interesting to see those two kind of elements of my artistic personality combined, because I think the tracks that I've shared with you that are from symposium or different in the way that they're um made only one way, but this one is definitely implementing um techniques from two projects. Um, so the what are the two other ones? I think it's like talked to me about it. Is that oneosium? I think so. and bitter butter and southwest of your scars. Ah, those are all from this project, but then I I look at this one, which is technically the first of the bunch and it's so not done. that I'm like, don't put it out until it's done. and I'm like, well, and might not ever be done with the shit that's happening is kind of scary. Like, it's I might I may not ever be able to get back to a place where this is possible because of the things that are continually happening uh, to me. Um, I I don't know what the source of evil is. Like, I really don't, like I am very much a spiritual person and I do have like the tendency to believe that like no matter what God has my back so if I'm removed from one situation or existence into another, it is for the protection of that aura, for the protection of that frequency, for the protection of, you know, keeping my, you know, um my source intact, like there's, you know, certain elements or certain frequencies that can't exist in in other realms. I think that, uh, a toxic environment. Like my energ is not going to sustain an intoxic environment. It's just not. It's just not. It's not necessarily even a personal or emotional preference. It's more of like a oh, this doesn't go in there. Like this doesn't go there or I don't exist over there. Like, I don't, you know, it's not. I think I wish that I could be applied to like every space and time, but I think that there are certain drawbacks to being in energy that is applicable to anything and everything. I think that, you know, in the very rare circumstances that an energy like that exists, um it's very magnetizing, it's very, uh enigmatic and it's very charismatic in the way that, like, everybody wants it, everybody wants a piece, everybody wants to be around it, but also for that person, you know, where that energy exists, you know, for that vehicle, I think that it becomes like exhausting to the point that, you know, um, the human of of that, um, you know, the human of that energy is entirely vulnerable all the time. And so those people that are, um designated to do those kinds of jobs, having that high level of power and energy are also, uh, you know, in every sense of the word, um, like exhausted to some effect, um, and I'm exhausted, um, but I think that this last two years has been a case study for all of the like I mean, like she's just horrible things people are doing to each other to try to get ahead, you know, like to try to get a little bit of the pie just to get the tiniest crumbs or to get you know, people are stepping on heads out here. Like people are doing what it takes and they're justifying things that are technically morally, you know. so very morally, uh, corrupt and so so so bad to other people with the justification of like, that's just the way it is. Or you you gotta do what you gotta do and I'm like, yo, dude, but like again, my energy just does not exist in that space for that mindset you know where it's like you know, um because I also believe that like a certain level of justifying, you know, morally uh, you know, morally corrupt behavior eventually just makes it so that you can't get ahead. I I honestly chronically believe that, like if you're constantly fucking other people over just to get to the top, like your top is not going to be consistent with what is actually success and what is actually um freedom, you know, like, you are gonna owe back energy to a certain extent, you know, um, because you stole it in the first place, like, you can't you can't sustain on stolen energy. Like you cannot do it. Like you cannot exist in a place that that was taken from somebody else without something else in turn being taken from you. I honestly truly believed that with every like with every last breath, with every last word, I honestly believe that like that that good overpowers evil. Like, you can't sustain on something that you robbed from somebody, you can't sustain on something that you you know, that that you took, eventually, you know, karmically, um, it comes back too, and so, I don't think energy is any different. I think if you suck the life out of somebody, eventually something' gonna get sucked out of you and, uh, it's one of those things where it's like one step forward, two steps back for people who uh subsist on energy that way. I just I don't know. um, I try more and more to be conscious of my self to point where I realized that um the effect that I have on people could be, you know, long lasting. It's it's something that could be like a ripple effect, and so I'm very careful with my energy in the way that, you know, I if I dole it out, I expect I expect 39%. I don't know why that's the number. 39% to get it back. um, you know, on a certain way. And uh understanding my limits and my like just understanding my ability and my placement. understanding the, you know, the the love you make. yeah, all that. and the love that you make is equal to the love that you take. And so um also, I think that love in itself is probably the most valuable heat source and that it overpowers what is um technically needed in the society of, you know, for survival. I think that love overpowers, you know, whatever material, you know, the material sense of existence is. I think that love overpowers, whatever is morally corrupt, whatever is systematically corrupt. I think that love at the end of the day, like, really does put in its place. um what is supposed to be and what is not supposed to be. And so in because I think like living in this spirit with the understanding that like it took me a really long time. I think I having a a a victim's mentality of like, I must deserve this in some sort of way, but then understanding also like I didn't do anything wrong. Um Sometimes these things just happen and the understanding of why that is is not always attainable. Um, and so to wallow in it and to be like, why, why? You know, like, why? I mean, I think in a from a philosophical standpoint, I do a lot of this because it's like this doesn't necessarily make sense, but it has to it has to be an art artistic way for me to be like, well, it doesn't make sense, but like, you know, now I have ten pages about trying to figure, like, instead of actually just wallowing it and being like, what? Well, now I have ten pages of like this, you know, something that can be considered beautiful. you know, something that can be considered, uh, useful to somebody, maybe not now, but at some point in time, you know, because all of my work is is stored in like this digital time space, kind of like encrypted into history in itself being like a digital marker for, you know, something that very much did exist or did happen. I still believe I still live in the belief that like this, well, it's just like the overall knowing that this part, this faction of history is a very, you know, uh verifiable part of ancient history, you know, to a culture that exists like beyond our time. And so with that understanding that, like it's so crazy, because I do have this overriding kind of factor of, you know, God that's just kind of like, oh, these are ancient times. this is an ancient world and it's hard to like wrap your mind around it because youth, you know, you think of yourself in the present time of like being a, you know, a being of existence in the future. Oh, I watched the jet the Jetsons. Oh, that was so good. I watched uh the Jetsons. which I didn't know is also the Simpsons. and like every animated show that came out on it like a lot, actually. It's a good show. I got I think I gotta watch it again because I was like, oh, this is like ten different shows. It was like ten different shows. um but I watched like the pilot, I think episode of the Jetsons and I was tripping. I I was tripping. um it was just really good. Anyway, um I think what what was I saying? Oh, like this time being like a marker for actual actually being a primitive civilization. Whereas like not necessarily compared to what we know as the primitive civilizations, you know, of human time, like, you think of primitive civilizations of being like the ancient Egyptians or, you know, the Mayans or, uh, you know, the Greeks, uh loved them. I really I I almost even favored them over the Romans. almost, almost, almost, I don't know, I could talk about history and culture forever. cause I'm like, but the other Romans really, like their architecture, but the Greeks more culturally, like artistically, I think where what is the word for them? Uh, the Greeks? What is the word for them? I think there were definitely more, uh yeah, yeah, definitely more artistic philosophical than the Romans, but the Romans had like a lot, like a lot to do with modern society to the point where that's also uh admirable. I do like the Romans. They're just like shitty and violent. They're just shitty and violent anyway. um what was I saying? I don't know. I'm wrapping this up. cause I'm hungry. I don't know about a taco, though. This is technically the start of my day. at midnight o'clock. Um, at midnight o'clock. oh, that's what I was talking about. Markers for ancient civilizations. Oh, yeah, this this time is so so far beyond. But I think the the incredible thing about this time that we're living in now presently, um, is that it is so, like there's so much record of it that it does exist beyond our time for, you know, potentially millions of years and into hire and further civilizations. So I kind of live with that, like, understanding of like this this also and itself being like, a part of the ancient world as far as time is concerned, you know? like, in as much a stipulation of like any apocalyptic or societal, you know, destruction is made, like nothing really sees past, like nothing really sees past the fact that, like, they're so much historical information about our present time in the future that it is consistently creating to an adding to like the what am I trying to say? Oh, something about the multiviverse. Something about the cosmos or something. constantly expanding, because it is, but whatever, I actually just kind of made this as a real time episode to so that I could share this song and then um not really like I don't necessarily have anything for you, anything else for you in this season. um it's there. like, there are six or seven other episodes. There might even be some music. oh, all the freaky Fridays or whatever, mix tapes. Did I even post what up Wednesday? I did I did a freaky Friday on a Wednesday and it was arguably the best. of all the freaky Fridays. I don't know if I posted that already. um I don't know if I posted that already. but it's not. Also, like my podcasting distributor is kind of archaic. So it takes a lot of work just to go check on what's been posted or whatever. um So I'm I'm not going to make any promises and be like, oh, go check if that was posted. And if it is posted, I'll just maybe post it again, cause it's worth it. Um, what up Wednesdays? I did it twice, actually. um because it got difficult to do freaky Fridays. It's still kind of fucking difficult to do it. And, uh, I it pains me to realize, like, how physically affected. I've I have been. um cause it sucks, cause it's not just something that's in my head, it's like ow, like, my body hurts. like, I cannot, you know. I can't withstand a certain frequency or electronic exposure that is negative over this much time. Like, I'm just like broken down right now. Um at least I'm still capable, cause I didn't ever think. I was like, I don't think I'll ever run more than a mile again. Um, I probably should um take the proper steps to make sure that, though, uh, now that I'm running again, I take the proper steps, like, I forgot to stretch, and I forgot to drink water. Stupid. Well, I I just felt so good to run. I love those woodway treadmills so much, so much, it just felt so good that I didn't that I couldn't stop and then when I did, like my body is like, okay, like you're stupid. Like it felt really good, so I'm like, all right, like active recovery. I'm gonna do like two hours on the pelotone and then a walk. um, before I run again. and that's what I'm about to do right now. I love getting to the reunion parts of the bad girls club because as the most fighting and I burn the most calories during the reunions, I just finished to season. I just watched the season for the second time. and uh I have a reunion episode coming up, so I'm a I'm— I don't know. I'm pretty boring person to be quite honest, but here's the song. okay, I'm at an hour yet. Here's the song forgetmenot// and follow through. It's not finished. Like if I could give you a percentage on the— what are you doing? Yo, this dudes are weird all day. I'm sorry. Um. He's so funny. He's so funny. Earlier he like earlier he like sneezed. Earlier he sneezed. But like also farted and this scared himself so bad that I could not contain myself. Because he was like embarrassed. but like, also he sneezed and farted and probably could not. He was like, oh, my God. Like, oh my God. And then, uh, I laughed for like a good five minutes after that. He seemed genuinely embarrassed. I was like, yeah. yeah, that that is shocking that you can manage to do something like that. like being a cat, but, you know, oh, he did. It was good. That's why we have emotional support animals, because I needed that laugh. I don't think I' laughed so hard at anything in a very, very long time, so I'm glad I have my little kitty. my satterat, my Mr. Cat, mush matters anyway. uh, was I wrapping something up? I was.ive meods to follow through. this song that's about to come up, and then I'm maybe I'll maybe I'll if it's not out already. Well, if it is, here it is again, what up Wednesday? I'll go dig it out of the fucking archives. you guys couldn't have that. decent. Um, keep in mind that the CDJs at the radio station, where do Freaky Fridays are also very archaic? Um, I'm not complaining, though. I don't know. I don't know if I got to the episode where I was talking about that. Uh, or maybe I got I got fi I gotta figure it out. um I gotta figure out where these episodes are. There's like six or seven. Should I uh honorable mentions or dishonorable mensions? I feel like it borders on both. because I just figured out what apparently the six seven phenomenon is. And I'm actually worried about suburban children, like, having act like, why are they saying this? Because I looked up I looked up where it came from, it came from this rapper called scrilla dude. not gonna lie. One of my personal favorites, cause I love rap, that is terrible to a certain extent. um and it is, like it's not only it's not only like it's not lyrically terrible. He's actually really good um He's actually really good whatever he's saying. I know what he's saying, which is what's terrifying that, like, apparently suburban upper middle class and upper class children are saying this. six seven thing, because it came from this video by this rapper called Skrilla do doot. Yup. and well, it's culture music, like it's it's trap culture music, it's not necessarily drill, but it's done in the style of drill. um, talking about like the culture the culture the culture um that is not necessarily like great. cause he was talking I was like yo. what the fuck are children saying this for? Um, what the fuck are children exposed to this for? Because there was no, like parental block on it or anything like that. And the dude was talking about like, straight up murderer. He was like, yeah, m, like this though. And I was like, oh no, like I I actually kind of dig his music because it's it's like it's the music that was born of like the Young Thug and the low Wayne and themehesine and it's bad. It's really bad. Like it's really bad. like if your kids are saying six seven, like, the origin of that is not, I'm like,o, shout out sc a d do, because that is facts, but also like, like like kids should not necessarily like, everything he was saying and all of his songs, I was like, that's bad. That's bad that you said that. not that you shouldn't, actually. I feel like there, like art exists as a medium to be able to have this level of freedom of speech, and that's why it exists. But also like, if you understand which I think kids obviously don't if they're just like, oh, six, seven, I'm like, okay, like, but obviously, like, this is where that came from. Like, and this is where that came from, and the dude is talking about some stuff that I'm like what? Like, I'm not confused. I know what he's talking about. But like, children should not necessarily like, even if they don't know what he's talking about, this is not like, this is different from like, when I was like, 10 and it's getting hot in here. So take off all your clothes, like that came out or like to the window to the wall, like this is mild, those things are mild, compared to like, the shit that scrill a do dude. talks about. I'm like, oh, what? What? And apparently we little kids are seeing this and exposed to it, like, they don't necessarily know what it means, but he's like, yo, these are the lyrics to my songs. Listen. I'm like, oh, like. That's troubling. That that exists. That's troubling. truly troubling. I'm I'm not talking shit. I actually really like it, but like parental controls, like, my kids should not be exposed to this, like via the Internet. Like, you should not like, this should be something especially if you live in the subrooms like if you live in a house that has rooms, like if you live in a house that has rooms in an all. like the culture that this is referencing and you know what? The only thing that actually made me look it up was like so many people were saying it in the circuit of television that I watched that I was like, it was bothering me. It was bothering me like Labubu was, but Labubu was far less disturbing, far less. I was like, oh, no. this is not cool. This is not cool, David Letterman. This is not cool, because he was like,Yo, what's up six seven? I'm like, you're 106. I don't know why you're saying this. So I looked it up. So I looked it up, and I was like, oh no, like, okay, like we know it's a cultural fucking phenomenon, but like, do you know why? Do you know why? Like, do you know why? And do you know what this man is talking about? Do you know what this man is saying? Anyway. I'm not I'm actually not gonna say it. Like I'm not gonna say it because I think it it exempt exemplifies that's what I'm trying to say right yeah. I think it exemplifies and represents a part of the culture that is deeply, deeply, deeply, deeply wrong. um in the history of the United States of America. I think it's just bad news. It's just bad news. And it's bad news, like it exists, but the reason why it exists is terrible, like it shouldn't exist is it's terrible. It's bad. It's bad and it's bad that kids are saying this. It's bad anyway. it's really bad. Anyway, I got Peloton time, bad girls' club reunion, some coffee to reheat. Here's this song, um there's no anything else for a while. I gotta make sure that like my uh I got to make sure if I get taken out, it's by like a city bus. And, you know, not just because my insides are uh imploding. um and yeah, my insides are imploding. Uh, gotta take care of number one, which is me. So, that self serving thing I get, but, you know, I'm just not the kind to to step on heads or like, I'm not gonna make it, like, purposely harder for you to do something. Like, I do believe in free will to the point where if you're not hurting anybody else, it's not affecting anybody else's, like vibe, like, do what you want, like, as long as you're not objectively or subjectively hurting anybody. Like, just don't hurt anybody, but besides this, you know, take care of yourself, but it's not, you know. I mean, you're not causing any quantifiable harm. Go ahead and, you know? I, um, but that's it. That's that's it for me. Thank you for listening. Is that it? Yeah, forget me nots. It's not finished. I've got a lot to do. Like, I actually had this is a song that actually has like a list, like a handwritten list on a piece of paper of like do this and do that and do this and do that. But like here's what I have so far just in case, you know, the city buses be getting awful close to the curb sometimes. where I stand, I am yep, they do. anyway. um I said more stories to tell and stuff, but now it's not the time or the place. did I say my thing? Yeah, I say my. Dave you were listening. something, you're listening, see you next time. That's it, yeah. Yeah, I don't have anything else. Thank you for listening. See you next time, bye.

Now, and??? Okay! Just another dime, And just enough to find Before I count them up to dollars— But you're turning into wine. What did you ever want? This is my other world. Go shatter you tantric catwalk elsewhere! Don't you know there is a show to put on? A wool to pull over the eyes of the unknown? Why do you have to groan at the quantifiable harm known but justice undone. No harm, no foul No food, no valid excuse for betraying my sacred dopamine, but hopefully you know only no good But words can come from it, And words that fall on blind eyes have no context at all. {Enter The Multiverse} Uncorrected transcript. [excuse my neighbors in the background they're determined to make my life miserable more than likely in exchange for dollar signs.] Okay, my Wi-Fi is off, my Bluetooth is off. Oh, my laptop is open, my Wi-Fi is on. I can give me a second to remedy that. Hello. Hello. I'm Atticus's tail says hello. What's going on? Oh, I wasn't planning on oh, my WiFi on my computers off. That is good. Uh, I keep all my devices uh, at minimum on off the grid as often as possible. Um, there there actually it's crazy how much of a difference this makes. I gotta pour myself some coffee. it is almost midnight, o'clock. Hello, um, what's up, we're missing talking episodes. Um, we're missing talking episodes from season 12. I can't find anything like past October, and I know it's on one of my hard drives, but all of my hard drives are full, um, I have like something like 10 terabytes altogether of stuff that needs to be like moved around and not all of it. Some of it's like really personal, like not personal, but like sensitive information that I can't necessarily utilize a cloud for. So I am it's taking me some time to organize some stuff. I I try to do between like eight and 12 hours of just organizing on any typical night after my uh exercise or whatever, or between I would say that exercise is definitely like the primary function of like my life. And that's like the priority right now, especially with the things that I've been going through. I think it's really important to keep my physical and mental health as um in in it's not gonna be at its peak, um, because of the noise pollution that I've been dealing with, and it's actually made me really sick over this extended period of two times. um, and I'm trying to um seek treatment for that, but it's a uh it's a long road, I have a long road ahead of me. We could just say that. Um, which is why I am giving you guys, um, some stuff that I've been working on that's not necessarily finished, and I'm actually really like, I'm embarrassed because I don't necessarily um I I actually have a hard rule of not releasing any music until it's absolutely finished. like even if it is a first draft, like it still has to be finished. um, but I actually and I gave you, I think, I think two tracks, which is actually four. um because this upcoming project, it's a concept album called a symposia. um and the concept for it is um a lot. I don't necessarily have to explain right now. Um, but all of the tracks so far on it are double tracks, and so it is typically I've always really loved albums that have that are like gapless. I don't think through my distributor, like I can never technically um, like put out an album that has no um technical stop or start between songs, like they would have to be cut a certain type of way that, like my distributor does it. There's always gonna be a gap between my music, but um all of the tracks are um double tracks, so they're all two tracks in one, um that are kind of along the same theme or idea and um like lead into the next track. I've always loved albums like that. uh, one of my favorite compilation albums, um like just to give you an example, just to throw it out there, is like, the Beatles love album, which is not actually a Beatles album. It's just a, um, it's a compilation of their um songs made for the Cirus Sole show that I think is still playing in Vegas. I don't know if it is it's been playing for like 10 years, and I still haven't seen it. um I really I really want to take mushrooms and go uh see that show. I've wanted to do that since it came out, but my favorite one of my favorite albums in the world is the love album, which is is basically a mash up of like their greatest hits, crafted by, um engineers and people who used to work with the Beatles and stuff for this uh Cir dis soet show um in Vegas that I hope I get to see I hope it's just one of those like long standing like like Siegfried and Roy. I just realized that they were in Vegas for like 40 years, like they were just there, they were just a stable, so hopefully that show is um kind of like that and one day I'll get the, uh one day I'll get the opportunity to see it. Like my my bucket list, like destination, like vacation at one point was to go see the Beatles love on like an EDC week. um that's still something that I want to do. I promise myself I wouldn't go to EDC unless I like ever got booked there. Um, and I think this year is like 30 years or something of EDC, and so they um they sold out in like five minutes. um so it's it's not it's not something I'd consider doing by myself anyway, unless I was gonna go with my best friend, and um and I was like I was talking to my best friend and I was like, oh, maybe I should check on, like the early bird tickets for ADC, and they were like, they was sold out, and was this celebrating 30 years, and I'm like, okay, well, I guess I should uh work on getting a booking agent, but my music is not my music is kind of turned into like a passion project. um, since everything that I've been going through over the last couple of years kind of just like took me off my path in that sort of way and DJing, I kind of wanna preserve it as like, I really love being a DJ. I really love producing music and because it's so consumer, there's a bunch of people in the industry that are not necessarily like music oriented or love oriented, and it's just like a whole different vibration from like the peace and the love and the unity respect of that. Like I like the scene for. I really want to check out, like as far as a festival goer is concerned, I really wanna check out some of these new festivals that are popping up that are doing like no cell phones. I kind of wanna check those out, cause I feel like the quality of of the experience has been preserved or will have been preserved in in certain spaces like that, um, but anyway, I'm uh I have been physically ill for like a few months now. um, and so the best that I can do for you guys my audience just because I'm not sure if I will get symposium out this year in which case it will come out next year. um, and then I think this track, I'm not sure, this track is definitely like a track that was in my mind. um implementing all of the like sound design stuff that I'm doing for symposium and is also a double track. um it's called Forget me nots. uh and then the second track is followed through. uh,get me nots/follow through. I think it's like an eight or nine. um minute track or whatever. It's not finished. Um, actually, the only finished track that you guys have heard, and even this even bitter butter and southwest of your scars is like a double track that is finished, that is on symposium, but it's still the version one, like it's not um I haven't done like any of the final mastering or any of the things that I do in the process of getting ready for a a release. I do have like a a like an implemented ritual structure of doing things like that, even for projects that seem like mindless, or, you know, things that are seem seemingly just like thrown together, like chasing dragons, was kind of like not necessarily even a concept until the three tracks were like sandwiched together, and I was like, oh, okay, like, this does tell a story and and they were all created in a certain way so that they'd go together. I think I fixed that. um, because, um, chasing dragons, the EP was for some reason, when chasing dragons got released to, like all the major platforms, it had chasing dragons was the first and the last track, and then dishes and the sink was just in the middle, which was weird. um so the third track on chasing dragons is actually immortalist and I got that all fixed. and I also got the regular like the normal version of the songightfall is out on the platforms now. Those were two er errors um that I needed to fix that I finally did. um but I'm slower to do music things now because like I said, my health is the priority. So it's like, yo, if it comes down to like getting a good meal in or like some good exercise or like right now I'm doing active recovery because I'm dumb. I went from like not really running anymore and only walking for an hour every day on the treadmill and doing like an hour between one and two hours on the pelotone, a day which is technically still three hours of work, um, but then I went back into heavy training the way that I preferred to do like I prefer to be at the gym between two and three hours every day. That is my ideal. That is where my body feels comfortable, um and flexible and like happy. Um, and if I can do that in the very beginning, like to start my day, cause I don't necessarily have 24 hour, like days anymore. um like what's technically the end of my day is oftentimes the very beginning of other people's days, and so I'm kind of just on on night, like, routine because it is like, I'm I'm basically just like protecting myself from the uh, you know, like my my nervous system can't take any further damage. Like, I do have really pronounced synesthesia and, um, I wasn't necessarily like planning to be exposed to extreme like noise pollution for an extended period of time without having the financial security or stability to escape from it, cause honestly, if I could have moved, I would have moved or if I could have just left, I would have just left, um, but I obviously wasn't in a situation that I could, and so I became very vulnerable um, to this type of attack, which I learned was actually very common. It's not something that is just like, oh, you know, um, this is just something that I'm going through. It's actually a very common for people of color to be, um vulnerable to this kind of disease that comes from um an implementation of using sound as a weapon. And I mean, like the irony is is that I was already kind of studying synesthetics and the way that, you know, as a culture or the way that in as as far as like mass consumerism is concerned, that's why people pay so much for a, you know, festiv for the festival experiences because sound can be a very much uh manipulated to be a physical thing. It's not, you know, it's not invisible. And so the fact that those same kind of um those that same kind of engineering can be implemented also in a negative way to have a negative effect. Like, you don't have to punch somebody in the face, like, you can just back up your exhaust, your engine exhaust, and, you know, fire at point blank to somebody that is, you know, caught off guard. and in that way, um sound can be used as a weapon, it uses the same dynamics, the same kind of dynamics as, you know, the reason why we go in the th you know, in flocks by the thousands and the millions to these festivals to feel the vibrations that that are on the opposite end of the same spectrum, the healing vibrations of, you know, certain things. and so I've been doing my best to try and, you know, maintain a certain level of health through, you know, using, um, you know, certain frequencies to block out. But when it's your physical person is in a space that's being manipulated to be on a certain frequency, um, uh, the exposure to this negative frequency that is unnatural to your body over a period of time. um, you begin to get very, very sick and that's what's happened to me. And so I'm trying my best to like keep my head above water and, you know, stay afloat. Um, but I didn't expect it especially after, you know, a period of like two or three years before that, where I was just like on the go all the time. Um, and, you know, not necessarily having like a a suitable foundational stability or a place to call home and then going straight into something else that was like more traumatic and more violent than, um then I expected, and so I've been trying to remedy that. um, the best that I can and because I'm putting my mental health and my physical health first, I'm not necessarily like, I it was weird. I was kind of in like a meditative space and I had, you know, like this this kind of spirit come over me that was like music, you know, music is gonna be there forever. like, as long as you're as long as you exist, you know, whether it's in like a physical realm or like an infinite realm or whatever, like as long as you exist, there's always gonna be music. and that was kind of like the sign that like, K, as much as I do like having a streak of, you know, like being an Ableton every day for several hours a day. um, the way that I am using these techniques that I'm applying in symposium and as seen on TV, which reminded up being a double album, because I actually have, um, like several, um, tracks that are like honestly on TV, I've been working on since, like, 2023., like, early 2023. Um, and so, the things that I've like collected, it's kind of interesting because my evolution as an artist or like my technique as a producer will be, um represented here in this project, which I hope comes out next year, but I can't say for sure, cause it's probably the it's definitely the biggest, most um important album I've ever worked on and I I put a lot of care and thought into those as seen on TV tracks because it does um like creatively, I guess, run alongside this series into the multiverse and all the series within the festival project, uh Ascension Death Wish, legends, um the legend of uh, the secret life and the sweet life of sunny Blue, just to name a few, there are I keep trying to make like a list of all of the shows within the festival project, but then I'm like, oh, like there are so many that it would it just falls apart. And so I mean like I'm getting a little bit more organized with the with the actual structure of, like, the television and movie, like, script part of the project. um, while I'm cleaning out my hard drives, but having to organize everything so that it's, you know, so that I can go to a certain hard drive and be like, okay, well, this is um, you know, this is this season to this season. I'm still archiving episodes from, you know, 2021 and and because a lot of those statistics can't be like once I delete an episode from the podcast, it goes away and all the all the statistical information about the number of downloads,, like all of its information, all of its metadata goes away. and that's very important for what I'm going through in my personal life right now in order to protect myself for those things to be taken down, but also for it to be archived in a way that I can reference as a creator like, okay, this is this day that this was published with this, that like, because it's it's a time travel concept that is multifaceted, and it is like based in this multiperceptory m multiperceptory multiimensional concept of technically technically infinite time and space, like it has to be organized in such a way that, like, all of the series and all of their all of the ways that they're connected to any particular parallels have to be, you know, they have to be organized and documented so that because I'm the more that I'm looking at it, the more it makes sense. I'll be like, oh, like, I thought this was just like nonsense or whatever, but when I'm putting it into like an organized space, um, and to me, that's like the god part about it is that like, oh, like, um like, I' I'll be looking at the writing and noticing how it takes like particular shapes or how the shapes will cut is sometimes like make pictures, like sometimes when you're looking at the clouds and you see, you know, shapes and the clouds. sometimes the riding for this project is like that, which is kind of incredible to me.c it's not something that I'm doing um, intentionally, it's kind of just something that's happening. I'm writing in a stream of consciousness that's also, you know, like artistic, creative in a way, that kind of has this, like, sense of divinity to it that I'm not necessarily, like, consciously doing. Um, so everything has to be organized in such a way that like it is gonna take time, um, and because it takes time and a lot of the other things that I did not foresee happening or also taking a lot of my time, like a lot of my my time and energy to document like how sick I've been getting a lot of time and energy has been focused on just like, doing the research on, you know, like crazy crazy shit that I never really took interest in, um, but could be applied here. um, could be applied to this situation and and kind of just finally being able to have a piece of mind to give myself the benefit of the doubt that, like, it wasn't in my head. like, I just had to be uh, I just had to be pushed to the point that I could understand, you know, that this um, sometimes very silent type of, um, you know, warfare is is like a documented not even necessarily historically, but like presently and present day. um, they're just I don't think haven't been enough survivors of this kind of thing, um, that it could be, um that it could be notably researched, like the amount of reports, but, you know, it's it's not it's not by choice, like it is taking up a lot of my time and I wish I was the kind of person that could just ignore it. Um, but I'm getting very physically ill. Um, so I can't, like, I can't ignore the fact that, like, you know, I'm running on zero pretty much all the time, and that my my patterns of speech have changed in my, you know, my thoughts have been intercepted and my, you know, like, because physical and mental health is such a priority to me, the fact that those things have been the primary uh, source of degradation has has affected me in such a way that it's not, I mean, like, it's less emotional than it is the logical answer to, you know, like if you have a cold, you take cold medicine or if you have the flu, you take, you know, it's it's like, well, remedying something that is a fi physical illness, you know. um, removing the cancer from the body, uh, you know, in such a way that it doesn't come back is kind of my main primary concern in this way. Um, so I am am especially because I can't but the talking episodes are actually more popular this season than any other season. and I can't find like six or seven of them, because I I don't know, I was just switching out all my, you know, uh my stuff so quickly and pulling things out of the cloud that it, you know, got saved under drive zip eight, seven six nine, you know, like. It's it's just a mess of of terabytes and tabyrites of creative work, um, and, you know, other things that I've had to dedicate my time to, which is not necessarily fair, but, you know what they say is life is not fair. Um, so, you know, life hasn't been fair, but I have, you know, been blessed in such a way that, like I I I've at least been able to um creatively channel some of the some of the energy and some of the time that I have left over that is technically mine. while in the sense that I've had a lot of my time and energy just stolen in siphoned, um, you know, I have been able to kind of forge a medium through fighting this that allowed me to, you know, start doing art along the lines of, um more more the way that I want my music to to think and feel. And so I'm I'm still just working from a little tiny MacBook air. um, so my, you know, um, my projects get like overwhelmed really quickly. I can't necessarily implement all of my um my plugins or all of the tools that I like to use at once, and so everything is kind of segment segmented in the way that I'm working. um and like, yeah, my projects get overloaded very quickly. um so the tracks that I'm giving you are not finished, but they're more um I would say like they're more, like colored, they're more like filled out. It's not necessarily abstract in the way that some of my stuff is like very like, you know, like drag and drop and cut and go, well, I do a lot of like, even in my even in my like my cut and dry stuff, I do a lot of sample manipulation. I very rarely will keep a sample in the way that it is without doing something to it, you know, like, I don't do dragon drop, um, unless I'm planning on just, like, you know, giving a beat to a rapper a artist for free. like, sometimes I'll just be like, okay, for the next 15 minutes, just do, like, something, you know, like a two or three minute, like dragon drop or whatever. But those those are not necessarily tracks that I A share here or B like plan on doing anything with because the world of sampling has gotten to the point where it's like, yo, you gotta have some creativity, like you can't just open up a sample pack and drag it and drop it into place, because then you have eight or nine songs that sound exactly the same. Eight or nine songs that are the same because basically you're just putting together a, you know, you're putting together stems from a track that was already created, you know, by somebody that's trying to sell you something, so um, you know, I I take a little bit more creative uh integrity in the stuff that I do mean seriously. Um, a lot of it lately hasn't been serious, but I I actually did want to take an hour to talk about this not this track in particular, just talk about why I'm doing this because it was something that it was like, oh, I feel like this project is a little bit more special or is a little bit more like technical than some of the other work that I've shared here on this podcast or work that I've put out before and so I kind of wanted to keep it to myself um, but then I've kind of had a couple, like, you know, like heart shattering experiences that make me realize, like, you don't know. like, you don't really know what's gonna happen and life is, um, sometimes very cruel and sometimes life is, you know, it just takes turns that are not necessarily. um you know, like you don't you don't ever know. And my mindset has not necessarily been that negative. It's like, oh, everything, you know, there's a there's a reason for everything, and blah, blah, blah, and I still do believe that, but like, you know, two years of constant, like, torture and stress to the point where I don't necessarily have a medium for support or, you know, um, like, I don't necessarily have the foundation of community. um, being in a place that is not my home and coming from a family that's very, very small and doesn't necessarily have, you know, well, like, I don't have what some people have, I don't have a large network of family and friends and the kind of family and friends that you create for yourself in the business are not necessarily, um, you know, like people can't necessarily be trusted to have your best interests. Um, especially especially if you are coming from like a a margin for success that, you know, is documented, like you've done well, you can't necessarily still believe that, like, everyone in your immediate circle has the best interest for you, because it is in human nature that everybody has, you know, themselves as the primary interest, and so um, me being like a a solidly um you know, like self sufficient. I won't say independent person. um, driving towards independence or whatever. um, but being a person that spends a lot of time in solitude and with enough respect, like enough self-respect to understand what my when my spiritual and my personal boundaries are being pushed even even in a person you know, professional setting. um like I took today for active recovery because I'm dumb and I went straight back into training as if I'd never really stopped. like it okay, like I'm on the Peloton seven days a week and I have a treadmill that I walk on in for an hour a day, you know, five to six days a week, but it's not the same as like being in the gym and lifting in stri strength training and and um active recovery um but I was like, okay, if I was running like a Madonna or whatever, you know, for this amount of time, then I should be able to do that. I should be able to do that. No, I didn't run a Madonna, but I ran like a 3K and then a little bit. and I like, my body was like, yeah, this is good, but then I had, like the rest of the day and I did not properly hydrate, and I got, like even more sick. and so I'm like, oh, fuck. Like, I really got like I really got a prioritize, like, my physical health, because if I keep letting myself get pushed, you know, like over the summer, before requisite when I was just like, oh, you know, like, I'm just gonna record. I'm gonna go to Manhattan 20 fucking days in a row and not take a day off and I'm also gonna train, you know, and I'm also gonna do this, like the like, I'm maximized my potential for burnout, which also left me per like, personally vulnerable. to the, like, professional sabotage and, like, weird, underhanded, like, underbelly shit that, like people in the DJ circuit are doing because it's so hard to actually break through., from the level of like consumer professionalism right now. So people are doing like a lot of nasty things to try to get that main stage spot and I wasn't like in my head, I'm still very much like a Disney kid, like, I'm still like, I don't necessarily well, I mean, like Disney to teach us like, there's always gonna be a villain, but like, a society kind of undoes that teaching and is like, but that's just in movies and that's just in your head, but there's no like to me, I there is just this weird misst up between real life and what is told that like, okay, like anything that exists that is like in a certain field of negativity is just in your head. but, like, evil is it like a documented source of the opposite of good. since the beginning of time, and I just don't understand in how in a society we can philosophically and psychologically embrace therapy, however, when it when it comes to, like, real lived experiences, when you're dealing with something that is not necessarily, uh, like a normal part of societal living, like that stuff only happens in movies. I'm like, but it does happen. Sometimes you just have to, you know, like being having I've I've never really been such a socially dependent creature. like, a lot of people have to have some kind of validation. That's why social media is like ruling our society right now. is because people have to have the validation or the likes of whatever they're doing is like cool with the rest of the group. and to me, that this is dangerous group think. like, if you're all thinking the same way, then there's something being missed. There's always something being missed, you know, if you're all on the same frequency or the same form of thought, you know. And so, I've always been like a big, you know, maybe it's just because I don't have any siblings. I've been like a big believer in embracing, um, independent thought, like, okay, if everybody else is thinking one way, then what is the opposite of what everybody else is thinking and not necessarily alluding to the fact that the opposite might be the right thing, but anything between whatever the group think and the opposite is, is also like valid, could be valid, you know, it's not necessarily the opposite of what everybody's thinking, but it's somewhere along the spectrum of maybe that or maybe the opposite, like it could be anything else in between. And so I think I'm the kind of person or the kind of thinker that's motivated by the the spectrum, you know, the spectrum, uh process, anything in between, like not necessarily that, not necessarily the opposite of that, but like what other possibilities, you know? um, could be validated or verified through thinking outside of the box or outside of a you know, being forced to the point of conformity that, like, everything sounds the same and everything looks the same and everything has like a way. That's not necessarily wrong. um, but also not necessarily the only way or right. um, so that I' of been uh what what did I get on that round about? I don't know. I've just been playing with like a lot of different concepts, like not necessarily trying to sound like anything. or anyone, and also not necessarily having the opportunity or environmental expression, like the space to be able to sound like myself. Like I still don't artistically or musically think that I sound like myself. um, and that they are elements of myself there, but it's something that's kind of, um, in its, you know, convex form of being this thing that is potential, but not necessarily fully realized or realizable yet. Like, I haven't had I haven't had peace and I haven't had like full p I haven't had peak health in a long time, or a safe environment in a very long time. and I think that the disallowance of comfort, not necessarily the safity of um of complatancy, you know, or or being comfortable to a point that it's it becomes dangerous, um, but just being able to kind of be in a life that is not necessarily like violent or terrible all the time. I think removing these barriers has not necessarily been a foreseeable reality for nearly a decade and while some artists technically thrive in what is, you know, what is this, you know, tragedy and darkness? It's there's only so much of a certain space that my creative ingenuity can take up and not void. And so, understanding that this time is kind of transitional in the sense that eventually it has to in no matter what direction break free from its current state of, you know, entrapment and its current state of imprisonment. um and so in my artistry and not will change, but I don't think I don't think it's necessarily going to be like fully realized until I have a a a point that I'm in an environment that I can breathe and be and think clearly without the force of control or being subjugated to, you know, a certain level of violence that's not necessarily always physical, but is certainly not, um, you know, without it's notable, um, impact on my physical health, my physical and mental health. So that being said, um, this track, um, this track is somewhere between symposium and, um, as seen on TV, I think I began writing it before the concept for symposium was fully formed. and, um, I think it was like the first of its little group of double tracks and I didn't necessarily mean, like, for the story, cause it, you know, ideally, like a song is like five minutes or less or whatever. um five minutes or less or whatever, but I've again, not been, uh, trying to conform to what is supposed to be this, or what is supposed to be that, and, um I don't know. I I began writing it in with the mindset and the technicality of symposium, but also as I listen back to it, um, I'm also using elements that have been implementing for the last few years into as seen on TV. And so there's some like to me, it's very beautiful. Again, what what is more important or more, you know, like wh what is more palatable for my audience is always differed like my favorite tr tracks are not your guys's favorite tracks from what I'm looking at for for the numbers, you know, my favorite episodes of me talking are not your favorite episodes for me talking. So, I mean, like they're exists here, this obvious, like, it's weird because a lot of artists can be applied to their fans and to their listeners. It's like the the listeners are being projective of like they see themselves in their favorite artists, or they see themselves reflected back through an artist that they, you know, like Taylor Swift, like, all her fans are Taylor Swift and like, most artists are that way that, you know, they're reflective of the people that they look like and have the same experience of and that's how, you know, um, that's how mass that's how mass media works. It's reflected, you know, through the medium of sorts, you know, um it as a as a concept that is shared amongst all all of those, you know, people. um, but I'm looking at my numbers and I'm realizing that, like, oh, there there's like a distinctly different flavor from the way that, like, my perception of what is my best work is and what my audience thinks is the best or, you know, the like I look a lot at the numbers not as they happen, but like over time, whereas I'll be in hiatus for a certain amount of months and then I'll come back. and see what the numbers are reflecting in in what is more, you know, palatable for my audience, like what my audience is is actually agreeing with more is like my better work and it's always not it's not necessarily again, it's not necessarily opposite. but it's not um, you know, it's not always what I expect to be. So this to me, I like um, but it doesn't necessarily like that you, whoever you are as an audience is gonna agree. Um This is actually the least completed track. um I feel like I'm showing you yeah, like I'm showing you my my uh it just it's naked cause it's very much not done. This is probably the most incomplete thing that I've ever, like, put out for anybody else to listen to. Um, but just being audit honest as like a person, not like as a entertainer, cause I don't necessarily see myself as that anymore after these couple years. Um, but being honest, like as a human being, as like a person, um, I've had some times that feel as though are, you know, an indication of not having a very prolonged experience in this sort of way. And I don't, like, I don't wanna put a trigger warning on anything. And I don't wanna, you know, like I I also don't want to insinuate things that are not there. Um, but a lot of the time, that is just to say that I don't feel safe, um, that I don't feel, um safe or secure, um, and that there's not necessarily a like sh it's just New York City. There's no level of like autho like a there is no necessary authority complex that has any sort of like, ability to protect you, you know, from uh certain experiences that are not necessarily um, you know, there's there's no level of protection from from, you know, there there are more heavily funded organizations that are like banks and investments or are more funded than the police. So when you're telling the police, like, hey, I'm being, you know, stalked or harassed and like, there's a pattern and like, here's the evidence and they won't even look at your evidence. Um, even though technically by the law, like it is, you know, documented uh, verifiable, like verifiable, like, no, there's none in my head. Like, I have like the videos, I have pictures, I have audio recordings of like this is happening to me, and they won't even look at it, um, not necessarily because they don't want to, but maybe because they've been trained to look in the other way. Um, and then, you know, just the cultural disadvantage of like, youre snitch. I'm like, I'm also within inches of my life sometimes. and nobody's helping me. Um, and it's not necessarily a mental condition. I think that more now than ever, I would be like readily willing to admit like, oh yeah, like, I should just take the meds, but I'm like, this is I'm not hallucinating this. I'm not gonna take some kind of fucking pill for some kind of medication for something that's like, I'm experiencing this, and not only am I experiencing this with like my eyes, my nose, my ears, like, I'm now videotaping 100% of my life everywhere I go. If I walk out the door, I'm recording, like, that's how many times I've been stalked or followed. Like, if I walk outside of my apartment, like I'm I'm videotaping it, because if I don't, if something happens, then it's literally their word against mine. and the police is, like, literal their whole thing is like, if we didn't see it, it didn't happen. Like, you can get you can get, like beaten within an inch of your life and the police can show up and you can tell them and they can see you like bleeding from the face or whatever, and be like, that guy did it, but the police will straight up tell you. the police will straight up tell you like if we didn't see it, it didn't happen, like we can write the report, but like we like they will not investigate. Period. They will not investigate. And so understanding that, like that opens the, you know, the possibility of like way, way more heinous crimes, you know, being able to be, um, played out without, you know, without any possibility of you having help for that, as, you know, is like dangerous to me, and a lot of the time I feel like I'm in danger, um, to me, and so, my priority is not sitting down in Ableton and and you know, getting these cues just right, like, especially with this this track. um, like it's so, so far from complete, but when I hear it, it still sounds it sounds decent enough that, like, I'll give it to you guys just in case, like like the least sometimes that I feel is gonna happen is that I just get hit by a bus. uh, which does happen almost any time I go outside. It's like, I will not get a bicycle. I won't because I'm like, that's like the easiest way to ensure that I will get hit by something. I'll get hit by something. um I will get hit by something, so I don't um I don't, you know. I'm just trying to, uh, get along and protect myself and away that, you know, maybe possibly enables me to, like, disappear. I don't necessarily need to be anybody. I stopped fighting for that main stage spot a long time ago, cause I I see that it's not about like it can't necessarily be about the love when it's about the money. and I have so, so much love. like for the music, um, and for what used to be the scene. I mean, the scene's always been kind of dirty. You pick up any book about DJ culture, about festival culture, you know, about music in the in the sense that it's been meant in the rave world has always had like a CD side to it. um because it was previously a counterculture, you know, that became mainstream and it still definitely has its like flavor, it definitely has its like, you know it's flavors to it, which, you know, is is a magnetism or like a draw, that's like, oh, there is this darkness that exists, but like, at the core of it is the frequency, you know? And I think that if there was ever going to be like a place for like a placeholder for success for me and the industry, it would be somewhere in the future when it can be a more decisive. No, what am I trying to say? Oh, I don't know. I think that money really fucks things up sometimes, and because of the amount of inequality in the world and the fact that the the world has become such a competitive space, um, that there're actually less places for opportunity for artists, even though it seems like there should be more. um I think until it's like about wellness, yeah, I think in until music can be until we can create like spaces where wellness is like at the center of these, you know, gatherings, then I don't think it's necessarily going to be like a safe place. Um for anybody, but let alone for me, because I'm very much like a fragile person when it comes down to, um, like per like the protection of my spirit and the protection of my aura, I don't necessarily want to be in a place of uh tragedy or a place of defense all the time. I I wanna go outside and and be in defense mode 100% of the time. I am right now, so um, like anything I I I kind of take it with a grain of salt in the way that like anything I say can and will be used against me. And so I don't say so much. I I don't say so much, and I want to be sure to take care of my art in a way that it doesn't is not, um, you know, so that it doesn't necessarily exist in a place of toxicity or that it's not coming from. Like, I won't sit down and Ableton if I feel a certain way. It's not just me being lazy. Like it's if I have like a certain vibration that's incurable, like it's not uh it doesn't make sense for me to, like, you know, sit down and work on a track. So this this track, uh, forget me nots and follow through. um, I think it is the first track and symposium. I don't know, because when I listen back to it, I also hear um when I listen back to it, I also hear as seen on TV, like a lot. um like a lot. And so it's kind of interesting to see those two kind of elements of my artistic personality combined, because I think the tracks that I've shared with you that are from symposium or different in the way that they're um made only one way, but this one is definitely implementing um techniques from two projects. Um, so the what are the two other ones? I think it's like talked to me about it. Is that oneosium? I think so. and bitter butter and southwest of your scars. Ah, those are all from this project, but then I I look at this one, which is technically the first of the bunch and it's so not done. that I'm like, don't put it out until it's done. and I'm like, well, and might not ever be done with the shit that's happening is kind of scary. Like, it's I might I may not ever be able to get back to a place where this is possible because of the things that are continually happening uh, to me. Um, I I don't know what the source of evil is. Like, I really don't, like I am very much a spiritual person and I do have like the tendency to believe that like no matter what God has my back so if I'm removed from one situation or existence into another, it is for the protection of that aura, for the protection of that frequency, for the protection of, you know, keeping my, you know, um my source intact, like there's, you know, certain elements or certain frequencies that can't exist in in other realms. I think that, uh, a toxic environment. Like my energ is not going to sustain an intoxic environment. It's just not. It's just not. It's not necessarily even a personal or emotional preference. It's more of like a oh, this doesn't go in there. Like this doesn't go there or I don't exist over there. Like, I don't, you know, it's not. I think I wish that I could be applied to like every space and time, but I think that there are certain drawbacks to being in energy that is applicable to anything and everything. I think that, you know, in the very rare circumstances that an energy like that exists, um it's very magnetizing, it's very, uh enigmatic and it's very charismatic in the way that, like, everybody wants it, everybody wants a piece, everybody wants to be around it, but also for that person, you know, where that energy exists, you know, for that vehicle, I think that it becomes like exhausting to the point that, you know, um, the human of of that, um, you know, the human of that energy is entirely vulnerable all the time. And so those people that are, um designated to do those kinds of jobs, having that high level of power and energy are also, uh, you know, in every sense of the word, um, like exhausted to some effect, um, and I'm exhausted, um, but I think that this last two years has been a case study for all of the like I mean, like she's just horrible things people are doing to each other to try to get ahead, you know, like to try to get a little bit of the pie just to get the tiniest crumbs or to get you know, people are stepping on heads out here. Like people are doing what it takes and they're justifying things that are technically morally, you know. so very morally, uh, corrupt and so so so bad to other people with the justification of like, that's just the way it is. Or you you gotta do what you gotta do and I'm like, yo, dude, but like again, my energy just does not exist in that space for that mindset you know where it's like you know, um because I also believe that like a certain level of justifying, you know, morally uh, you know, morally corrupt behavior eventually just makes it so that you can't get ahead. I I honestly chronically believe that, like if you're constantly fucking other people over just to get to the top, like your top is not going to be consistent with what is actually success and what is actually um freedom, you know, like, you are gonna owe back energy to a certain extent, you know, um, because you stole it in the first place, like, you can't you can't sustain on stolen energy. Like you cannot do it. Like you cannot exist in a place that that was taken from somebody else without something else in turn being taken from you. I honestly truly believed that with every like with every last breath, with every last word, I honestly believe that like that that good overpowers evil. Like, you can't sustain on something that you robbed from somebody, you can't sustain on something that you you know, that that you took, eventually, you know, karmically, um, it comes back too, and so, I don't think energy is any different. I think if you suck the life out of somebody, eventually something' gonna get sucked out of you and, uh, it's one of those things where it's like one step forward, two steps back for people who uh subsist on energy that way. I just I don't know. um, I try more and more to be conscious of my self to point where I realized that um the effect that I have on people could be, you know, long lasting. It's it's something that could be like a ripple effect, and so I'm very careful with my energy in the way that, you know, I if I dole it out, I expect I expect 39%. I don't know why that's the number. 39% to get it back. um, you know, on a certain way. And uh understanding my limits and my like just understanding my ability and my placement. understanding the, you know, the the love you make. yeah, all that. and the love that you make is equal to the love that you take. And so um also, I think that love in itself is probably the most valuable heat source and that it overpowers what is um technically needed in the society of, you know, for survival. I think that love overpowers, you know, whatever material, you know, the material sense of existence is. I think that love overpowers, whatever is morally corrupt, whatever is systematically corrupt. I think that love at the end of the day, like, really does put in its place. um what is supposed to be and what is not supposed to be. And so in because I think like living in this spirit with the understanding that like it took me a really long time. I think I having a a a victim's mentality of like, I must deserve this in some sort of way, but then understanding also like I didn't do anything wrong. Um Sometimes these things just happen and the understanding of why that is is not always attainable. Um, and so to wallow in it and to be like, why, why? You know, like, why? I mean, I think in a from a philosophical standpoint, I do a lot of this because it's like this doesn't necessarily make sense, but it has to it has to be an art artistic way for me to be like, well, it doesn't make sense, but like, you know, now I have ten pages about trying to figure, like, instead of actually just wallowing it and being like, what? Well, now I have ten pages of like this, you know, something that can be considered beautiful. you know, something that can be considered, uh, useful to somebody, maybe not now, but at some point in time, you know, because all of my work is is stored in like this digital time space, kind of like encrypted into history in itself being like a digital marker for, you know, something that very much did exist or did happen. I still believe I still live in the belief that like this, well, it's just like the overall knowing that this part, this faction of history is a very, you know, uh verifiable part of ancient history, you know, to a culture that exists like beyond our time. And so with that understanding that, like it's so crazy, because I do have this overriding kind of factor of, you know, God that's just kind of like, oh, these are ancient times. this is an ancient world and it's hard to like wrap your mind around it because youth, you know, you think of yourself in the present time of like being a, you know, a being of existence in the future. Oh, I watched the jet the Jetsons. Oh, that was so good. I watched uh the Jetsons. which I didn't know is also the Simpsons. and like every animated show that came out on it like a lot, actually. It's a good show. I got I think I gotta watch it again because I was like, oh, this is like ten different shows. It was like ten different shows. um but I watched like the pilot, I think episode of the Jetsons and I was tripping. I I was tripping. um it was just really good. Anyway, um I think what what was I saying? Oh, like this time being like a marker for actual actually being a primitive civilization. Whereas like not necessarily compared to what we know as the primitive civilizations, you know, of human time, like, you think of primitive civilizations of being like the ancient Egyptians or, you know, the Mayans or, uh, you know, the Greeks, uh loved them. I really I I almost even favored them over the Romans. almost, almost, almost, I don't know, I could talk about history and culture forever. cause I'm like, but the other Romans really, like their architecture, but the Greeks more culturally, like artistically, I think where what is the word for them? Uh, the Greeks? What is the word for them? I think there were definitely more, uh yeah, yeah, definitely more artistic philosophical than the Romans, but the Romans had like a lot, like a lot to do with modern society to the point where that's also uh admirable. I do like the Romans. They're just like shitty and violent. They're just shitty and violent anyway. um what was I saying? I don't know. I'm wrapping this up. cause I'm hungry. I don't know about a taco, though. This is technically the start of my day. at midnight o'clock. Um, at midnight o'clock. oh, that's what I was talking about. Markers for ancient civilizations. Oh, yeah, this this time is so so far beyond. But I think the the incredible thing about this time that we're living in now presently, um, is that it is so, like there's so much record of it that it does exist beyond our time for, you know, potentially millions of years and into hire and further civilizations. So I kind of live with that, like, understanding of like this this also and itself being like, a part of the ancient world as far as time is concerned, you know? like, in as much a stipulation of like any apocalyptic or societal, you know, destruction is made, like nothing really sees past, like nothing really sees past the fact that, like, they're so much historical information about our present time in the future that it is consistently creating to an adding to like the what am I trying to say? Oh, something about the multiviverse. Something about the cosmos or something. constantly expanding, because it is, but whatever, I actually just kind of made this as a real time episode to so that I could share this song and then um not really like I don't necessarily have anything for you, anything else for you in this season. um it's there. like, there are six or seven other episodes. There might even be some music. oh, all the freaky Fridays or whatever, mix tapes. Did I even post what up Wednesday? I did I did a freaky Friday on a Wednesday and it was arguably the best. of all the freaky Fridays. I don't know if I posted that already. um I don't know if I posted that already. but it's not. Also, like my podcasting distributor is kind of archaic. So it takes a lot of work just to go check on what's been posted or whatever. um So I'm I'm not going to make any promises and be like, oh, go check if that was posted. And if it is posted, I'll just maybe post it again, cause it's worth it. Um, what up Wednesdays? I did it twice, actually. um because it got difficult to do freaky Fridays. It's still kind of fucking difficult to do it. And, uh, I it pains me to realize, like, how physically affected. I've I have been. um cause it sucks, cause it's not just something that's in my head, it's like ow, like, my body hurts. like, I cannot, you know. I can't withstand a certain frequency or electronic exposure that is negative over this much time. Like, I'm just like broken down right now. Um at least I'm still capable, cause I didn't ever think. I was like, I don't think I'll ever run more than a mile again. Um, I probably should um take the proper steps to make sure that, though, uh, now that I'm running again, I take the proper steps, like, I forgot to stretch, and I forgot to drink water. Stupid. Well, I I just felt so good to run. I love those woodway treadmills so much, so much, it just felt so good that I didn't that I couldn't stop and then when I did, like my body is like, okay, like you're stupid. Like it felt really good, so I'm like, all right, like active recovery. I'm gonna do like two hours on the pelotone and then a walk. um, before I run again. and that's what I'm about to do right now. I love getting to the reunion parts of the bad girls club because as the most fighting and I burn the most calories during the reunions, I just finished to season. I just watched the season for the second time. and uh I have a reunion episode coming up, so I'm a I'm— I don't know. I'm pretty boring person to be quite honest, but here's the song. okay, I'm at an hour yet. Here's the song forgetmenot// and follow through. It's not finished. Like if I could give you a percentage on the— what are you doing? Yo, this dudes are weird all day. I'm sorry. Um. He's so funny. He's so funny. Earlier he like earlier he like sneezed. Earlier he sneezed. But like also farted and this scared himself so bad that I could not contain myself. Because he was like embarrassed. but like, also he sneezed and farted and probably could not. He was like, oh, my God. Like, oh my God. And then, uh, I laughed for like a good five minutes after that. He seemed genuinely embarrassed. I was like, yeah. yeah, that that is shocking that you can manage to do something like that. like being a cat, but, you know, oh, he did. It was good. That's why we have emotional support animals, because I needed that laugh. I don't think I' laughed so hard at anything in a very, very long time, so I'm glad I have my little kitty. my satterat, my Mr. Cat, mush matters anyway. uh, was I wrapping something up? I was.ive meods to follow through. this song that's about to come up, and then I'm maybe I'll maybe I'll if it's not out already. Well, if it is, here it is again, what up Wednesday? I'll go dig it out of the fucking archives. you guys couldn't have that. decent. Um, keep in mind that the CDJs at the radio station, where do Freaky Fridays are also very archaic? Um, I'm not complaining, though. I don't know. I don't know if I got to the episode where I was talking about that. Uh, or maybe I got I got fi I gotta figure it out. um I gotta figure out where these episodes are. There's like six or seven. Should I uh honorable mentions or dishonorable mensions? I feel like it borders on both. because I just figured out what apparently the six seven phenomenon is. And I'm actually worried about suburban children, like, having act like, why are they saying this? Because I looked up I looked up where it came from, it came from this rapper called scrilla dude. not gonna lie. One of my personal favorites, cause I love rap, that is terrible to a certain extent. um and it is, like it's not only it's not only like it's not lyrically terrible. He's actually really good um He's actually really good whatever he's saying. I know what he's saying, which is what's terrifying that, like, apparently suburban upper middle class and upper class children are saying this. six seven thing, because it came from this video by this rapper called Skrilla do doot. Yup. and well, it's culture music, like it's it's trap culture music, it's not necessarily drill, but it's done in the style of drill. um, talking about like the culture the culture the culture um that is not necessarily like great. cause he was talking I was like yo. what the fuck are children saying this for? Um, what the fuck are children exposed to this for? Because there was no, like parental block on it or anything like that. And the dude was talking about like, straight up murderer. He was like, yeah, m, like this though. And I was like, oh no, like I I actually kind of dig his music because it's it's like it's the music that was born of like the Young Thug and the low Wayne and themehesine and it's bad. It's really bad. Like it's really bad. like if your kids are saying six seven, like, the origin of that is not, I'm like,o, shout out sc a d do, because that is facts, but also like, like like kids should not necessarily like, everything he was saying and all of his songs, I was like, that's bad. That's bad that you said that. not that you shouldn't, actually. I feel like there, like art exists as a medium to be able to have this level of freedom of speech, and that's why it exists. But also like, if you understand which I think kids obviously don't if they're just like, oh, six, seven, I'm like, okay, like, but obviously, like, this is where that came from. Like, and this is where that came from, and the dude is talking about some stuff that I'm like what? Like, I'm not confused. I know what he's talking about. But like, children should not necessarily like, even if they don't know what he's talking about, this is not like, this is different from like, when I was like, 10 and it's getting hot in here. So take off all your clothes, like that came out or like to the window to the wall, like this is mild, those things are mild, compared to like, the shit that scrill a do dude. talks about. I'm like, oh, what? What? And apparently we little kids are seeing this and exposed to it, like, they don't necessarily know what it means, but he's like, yo, these are the lyrics to my songs. Listen. I'm like, oh, like. That's troubling. That that exists. That's troubling. truly troubling. I'm I'm not talking shit. I actually really like it, but like parental controls, like, my kids should not be exposed to this, like via the Internet. Like, you should not like, this should be something especially if you live in the subrooms like if you live in a house that has rooms, like if you live in a house that has rooms in an all. like the culture that this is referencing and you know what? The only thing that actually made me look it up was like so many people were saying it in the circuit of television that I watched that I was like, it was bothering me. It was bothering me like Labubu was, but Labubu was far less disturbing, far less. I was like, oh, no. this is not cool. This is not cool, David Letterman. This is not cool, because he was like,Yo, what's up six seven? I'm like, you're 106. I don't know why you're saying this. So I looked it up. So I looked it up, and I was like, oh no, like, okay, like we know it's a cultural fucking phenomenon, but like, do you know why? Do you know why? Like, do you know why? And do you know what this man is talking about? Do you know what this man is saying? Anyway. I'm not I'm actually not gonna say it. Like I'm not gonna say it because I think it it exempt exemplifies that's what I'm trying to say right yeah. I think it exemplifies and represents a part of the culture that is deeply, deeply, deeply, deeply wrong. um in the history of the United States of America. I think it's just bad news. It's just bad news. And it's bad news, like it exists, but the reason why it exists is terrible, like it shouldn't exist is it's terrible. It's bad. It's bad and it's bad that kids are saying this. It's bad anyway. it's really bad. Anyway, I got Peloton time, bad girls' club reunion, some coffee to reheat. Here's this song, um there's no anything else for a while. I gotta make sure that like my uh I got to make sure if I get taken out, it's by like a city bus. And, you know, not just because my insides are uh imploding. um and yeah, my insides are imploding. Uh, gotta take care of number one, which is me. So, that self serving thing I get, but, you know, I'm just not the kind to to step on heads or like, I'm not gonna make it, like, purposely harder for you to do something. Like, I do believe in free will to the point where if you're not hurting anybody else, it's not affecting anybody else's, like vibe, like, do what you want, like, as long as you're not objectively or subjectively hurting anybody. Like, just don't hurt anybody, but besides this, you know, take care of yourself, but it's not, you know. I mean, you're not causing any quantifiable harm. Go ahead and, you know? I, um, but that's it. That's that's it for me. Thank you for listening. Is that it? Yeah, forget me nots. It's not finished. I've got a lot to do. Like, I actually had this is a song that actually has like a list, like a handwritten list on a piece of paper of like do this and do that and do this and do that. But like here's what I have so far just in case, you know, the city buses be getting awful close to the curb sometimes. where I stand, I am yep, they do. anyway. um I said more stories to tell and stuff, but now it's not the time or the place. did I say my thing? Yeah, I say my. Dave you were listening. something, you're listening, see you next time. That's it, yeah. Yeah, I don't have anything else. Thank you for listening. See you next time, bye.

From a quick explanation of why Pioneer DJ has got a storm on its hands with disappearing playlists, to helping a student who is dealing with a severe case of imposter syndrome, to keeping tidy cables at the back of your DJ gear, we've got a varied and fun mailbag this week. It's all here on this Your Questions edition of our podcast.As ever, this pod is supported 100% by the students of Digital DJ Tips, and it was recorded in a live webinar with lots of student feedback. If you enjoy it and you can, please do give us a five-star rating on Apple Podcasts. It really does make a difference.TIMESTAMPS00:00 Intro00:14 Episode overview01:47 Why are DJ playlists disappearing on CDJ-3000s?05:07 Do you need a subwoofer for mobile DJing?06:52 How to deal with knee pain when DJing?09:12 Tips for overcoming performance anxiety and imposter syndrome?14:33 Advice for reading a crowd without pre-prepared playlists?18:42 How to mix songs you don't know?25:32 How best to hide cables behind DJ gear?28:25 Where to find dance remixes of pop songs?33:58 What music should you play at Christmas parties?35:32 Can you use one music library on multiple computers?39:57 Will old CDJs read modern USB exports? Want to get your question answered on an episode of this podcast? Digital DJ Tips course owners get to ask questions in their student-only group. Your first step to getting involved is to buy a DJ course, so come and join our community at https://www.digitaldjtips.com.

New SPND20 Mixtape in the vault - @nastiareigel takes control.

I've just recorded a full one hour vinyl mix featuring some of my favourite soulful and deep house tracks from 1993 through to 2024. It was a real pleasure playing at Dialog Studios out in the beautiful Cotswold countryside such an incredible space. The team there are top-notch and can create virtually any look or vibe you're after, whether you're a band, solo artist, or a seasoned DJ like me. Totally love the authentic nature of it all. So glad I played records instead of CDJs, it would have been too polished sounding and seamless, and not at all organic. So there you have it. If you've got a love for meaningful 90s soulful songs and deep electronic grooves between 120–127 BPM, this one's for you. Enjoy! www.djrobbieduncan.com | IG: djrobbieduncan

Welcome to another edition of The B4 Podcast, brought to you by B4 Bookings… We've got another exclusive mix coming your way for the next hour, this month courtesy of a brand new signing to the agency - a hugely exciting young Spanish DJ, called Alba Franch… Alba is an emerging talent from Madrid, whose sets just radiate energy and personality… Whether she's setting the tone for international headliners or closing out the night with her trademark intensity, she's equally at home… Be it hard groove, hard house, or even trance, she has a deft ability to move between driving techno and harder rhythms, and she always manages to forge a deep and personal connection with the crowd… Earlier this year, she entered the legendary tiled room of HÖR in Berlin to drop an hour of complete fire, she's recently played her second Face 2 Face set at Mondo Open Air, there've been performances across her homeland these last few weeks, and you're gonna be seeing her name increasingly on lineups around Europe…  Some extensive studio sessions have been happening this summer too, with some quality releases coming you way very soon… Put all this together, and she's guaranteed to be wowing audiences far, far beyond her native Spain for the foreseeable future…  So, enough of an intro, as you really need to actually hear what she's all about - in the mix for the next 60 minutes, prepare to be dazzled by some serious skills on the CDJs, and turn it up, for Alba Franch.

Mark Williams is a veteran that has paid his dues over more than two decades on the scene as a DJ and producer. Since the 80s, when he started his career at UK hot spots like the Ministry of Sound and Final Frontier, he has been laying the groundwork for his future success. His production work has also gained him acclaim the world over and he has released a staggering catalogue of quality tracks on some of the most respected techno labels in the world including: Tortured, Dark House, Pure Plastic, Phont, Primate, and Carl Cox's Ultimate Trax imprint, to name a few. In addition to releasing on other labels, Mark also has his own imprints: Artificial Vinyl, Real Sessions, Macumba and Real Vinyl. Mark has also gained worldwide recognition with his skilful and distinctive DJing style. Mixing tribal, tech house and techno on three decks and CDJs, his rocking performances have helped him to develop a strong fan base and facilitated gigs in places like Spain, Turkey, Slovenia, Japan, Brazil, Colombia, Macedonia, and Sweden. His first major tour was in 1998 when Mark was asked to join Carl Cox on his “World Wide Ultimatum Tour.” In 2000, Mark became a resident at a club night called “Damage” in Dublin and later that year he supported Billy Nasty on his “Torture Chamber World Tour.” 2003 found Mark on his first “Ingoma Tour” with Ben Sims which culminated in a now legendary party at the Loft Club, Barcelona, the weekend of Sonar. In 2004, Mark and Ben set out for another tour to promote Mark's debut album, “A Point in Time” on Ingoma. 2005 was another banner year, with Mark playing at clubs, parties and festivals around the world including a set for more than 40,000 people at the Monegros Festival in Spain. 2005 also saw Mark bringing his sound to radio. The “Concept Show” (www.conceptshow.com) is a monthly broadcast that Mark co-hosts with Macedonian DJ Goran Kan. Some of the past guests have been Mark Broom, Paul Mac, Ben Sims, Cari Lekebusch, Oscar Mulero and DJ Bone. From the studio to the DJ booth, Mark Williams is one of the brightest stars in the world of techno and his list of accomplishments is impressive and ever growing. In 2007, Mark has teamed up with Paul Mac to provide a new way of presenting his music using a combination of three turntables, 2 CDJs and a laptop running Ableton. Sou Tai are intending to fuse their customary sounds to create something new and fresh. The addition of Ableton to the standard setup enables the use of custom edits of classics and to be able to drop all manner of surprises into the mix. Mark has also found time to create a masterpiece of an album that expresses all the sides of his musicality. His love for tribal, Detroit techno and house music shines through in his album “You can't hide what you truly feel” (out later this year) for the label Subject Detroit. So far Mark has soared to new heights, with Sou Tai closing the Awakenings party in Holland to outstanding reactions from the crowds. With Sou Tai riding high the pair have had some superb gigs such as the one at Spanish super club Fabrik, and Mark has now found himself back playing in much loved Japan Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

ElecSoul #246 – hello, olá, olá, Hola!, Todo bien & back again.
 Felt like the right time to throw a bit of a Latin curveball into the mix this week… there's summer in the air and I've been in that kind of mood. My wife and I often talk about going back to Lisbon it's a place we both love but lately I've also been wondering what South America would be like. That daydream definitely crept into the music this time. Also had a really nice chat with Helder Russo on Instagram about his latest release a remix album of Church Music. I shared how much I loved ME AND YOU when it first came out, but my copy had corrupted and wouldn't play on the CDJs. He kindly sorted me out with a fresh version big up Helder!
 Listen again on Soundcloud, Apple Podcasts to hear the the track in question

Have a great weekend! 

Robbie xx

Maybe I'm not afraid because it just feels temporary. The noise in the apartment made it easy to let go, and better yet, because of the noise— the only way a pro bono lawyer might speak with me is if I was evicted— then, explaining away that from the day I moved into the apartment my mental health began to spiral and, that recovery from homelessness and having left an abusive relationship became impossible with motorcycles and modified cars circling like buzzards, gangsters slanging on the corner banging music I hated, and an all around environment of unwellness, in which I was unable to cope with the mechanisms of even the simplest tasks, after being bombarded by these hellish people. I was sure that speaking with one sort of lawyer and explaining my heavily documented case would eventually lead to meetings with another kind of lawyer who would see my case and agree that I had been attacked, and severely wounded— and eventually, probably, compensated. It simply wasn't facet of my imagination but seemed there was sort of hate group targeted to stalk and harass me— even in Manhattan, after visiting the Apple Store, a random pair of motorcycles approached and revved their engines thunderously as I walked back to the studio, even startling another passerby, as she shook her head as if to say “that was horrible”, with this look of fear and disgruntlement. It had been two years of this for me, though, and so I was somewhat used to it. It still hurt, but not the way it used to. Inside, sort of like the way a boxer knows how to take a punch because he's trained for it. But this was not my job, and I was not getting paid, unless I could actually put my mind together enough to assimilate some sort of strategy; a lawsuit against the property management and the city itself for allowing the harassment, and at the end of the day, it didn't much care who was responsible, and whether it was politics or street theatre— I just wanted it to stop. I could honestly say that any sort of legal action was indeed not about the money, but rather an escape. Would I live in New York if I did not have to? Not by any means, anyway, in the way I did. Just the view alone set me off, and anytime one of the foam panels fell out of the window from sun or dust and the lot of cars and busy intersection peered through, a gut wrenching anxiety came over me like the way it did when I first saw it; even then, when I first viewed the apartment, I knew that something bad had happened here before I even moved in— and it was bad, the constant motorcycle attacks, and at one point they were not at all writeable enough off as “normal noise”, the way they used to wait until I was almost a sleep to rip through the block and create sonic booms that sounded like bombs—eventually these kinds of attacks stopped but it was around the first year that I started to realize due to these series of traumas my brain was wired differently.i understood that she's were acts of war, but why? I had no intentions of stirring anything up in this place and honestly, from the start, because I was stuck, I had just wanted to get out. Hold on. I got two jokes. Ok. What was the one about— Oh, it's so simple but since they hate black women so much it would probably make a white audience laugh. My ex punched me so hard, I thought I was going to run for president in 2028. That's it? That's the joke. That not a joke. You're right. That's not a joke. I'm not though. I realized that. Please. Don't hit me. [beat] Unless you hit me hard enough that I actually become the actual president. Then, you're free to assassinate me. Thats the joke? Yeah. What a horrible joke. Yeah. Kind of. Okay. What's the other one? It's the—it's that enter the multiverse joke on the Sean Evans timeline. Ok. (Who is Sean Ryan) Idk. [Sean Ryan was the Showrunner of The Shield, Starring Michael Chiklis and Walton Goggins__which ran from 2001-2007, and also fostered the writing career of Kurt Sutter, who went on to create Sons of Anarchy.] Anyway. One of the contestants from hot ones calls Sean and goes, Sean! And Sean's like: Whaddup? Sean! How do you do this bro? [sean is eating ghost pepper cereal for breakfast with ice cold horchata ) Ew. Nice. It was gonna be milk but SEAN EVANS (Aside) The cinnamon gives it a nice schwing. Apparently, The training for hot ones is a non-stop tolerance-topper. Sean RYAN is always doing his best to outdo himself. Yeaaaaaaaaahhhhhhhh! Thats right. Any fucking way. Sean! How do you do this everyday, buddy! Do what? My butthole is burning! I don't have one. You— what? I do not any longer have a butthole. Beg your pardon. I got it removed. What. What. Hold on, it's a multilayer joke. 2x Joke multiplier! Are we still playing this game? OH YEAH! goddamn. I really wanna see this fictional koolaid movie. WHERE'S SETH ROGEN? ROB LOWE is directing an episode of ENTER THE MULTIVERSE. DIRECTOR Quiet on Set! He turns to DRAKE BELL who is reprising his role as TIMMY TURNER. ROB LOWE Sorry, is that triggering to you? Nothing is said but instead he just shoots him a look. really on it with the zingers today. What can I say. I juice fasted and then ate like a normal person so maybe— I don't know. What's that supposed to mean. Everything is temporary. My next run isn't scheduled until after midnight but I might climb on the Peloton for an ironic spin. I owe everyone money. Not in the way that I ever wanted to be this bum, but in the way that all of my jobs have been awful enough that— honestly, I never quit, it just eventually all falls apart. I've been almost fondly remembering the— {Season 5} —summer in Las Vegas I had two awful jobs, no car, no place to live, and One boss who looked like Dillon Francis— And well. INT. LAS VEGAS ATHLETIC CLUB. WHENEVER. ITS OPEN 24 HOURS!!! WHEEEEEE!! Omg that guy looks just like Jimmy Fallon. BEFORE Oh, hi Jimmy. Hey! You finally noticed. I been noticing. You know I'm in a screen, right? You're in all the screens. Not all of them. ALL THE SCREENS A large wall of paneled Televisions hangs above the cardio center. … … MEANWHILE For while, the dude was everywhere. And I mean— Yo! I swear to God— —don't do that! — every time I look at a fucking tv, you're on it! shhh—watch your language! For what! You're on the Telivision, I'm not. You are on the Television! I'm not! —look just— trust me I don't have enough time before we're about to cut to co—[mmerciial!] [cuts to commercial] That dude is weird. Hm. That dude does look like Jimmy Fallon. — and one boss that looked like— Well, you get it. Yes he does. Very much so. Hm. Should I fuck him? Ew! No! What! Gross . No. Take his job! What? This incompetent drunken loser was, for a very short time— my manager. Just then when the car alarm when off, I express my not so subconscious, and must remark To remind my dear audience that this SUPACreature Is exponentially explicit, hence the Sexual exploitation of he who is hereby known As [Not] Jimmy Fallon. He was maybe the worst boss I ever had. If not the worse, definitely one of them. He was always drunk, Slept on the job, Was inappropriately explicit, Sexualized everything, And bitterly racist, Lived with his mother, Had social problems And was, Of course— Completely incompetent. Two hosts sit watching the serason premiere with popped corn. Oh. That's clever That's funny. See, those redactions could have been anybody. They were anybody. M— Jimmy!? Which Jimmy?! Last time I had a visionary dream about Jimmy Kimmel he was holding a white candle. At any rate, they were out of black, and I have no idea what that's supposed to mean, but I can only assume that when any host takes an extended hiatus, it's some kind of Contractual agreement. Ah-hem… Sign it. I don't know… about… that. And why not? This creature is one of the most powerful in the multiverse. [Jimmy Fallon] TINA FEY What. Are you serious. —and that's my time. Just trust me on this— NO. Pretty please! Oh, welL, since you made it pretty. Really? NO. Absolutely not. You are increasingly difficult. I learned to brew at thought at wishing wells Again, I gallop, striving to dance past the forced illusions of a non-corrupt decision, The end is near and also, simply The Division. ENTER THE MULTIVERSE: L E G E N D S — The Rock and And the Kite Part X: The Division Bell Part 10?! Yes. How is it part ten? Where are parts 6 through 9 I don't know. I have no clue. (You have no idea) Oh. I get it. The parenthesis are the voice of God. (It's all the voice of God, These are just more strong dictations.) Fix your diction! Fix your Dick Nixon if it don't swing left; On a finite curve, It switches with any direction, Irregular, my guest; I could have asked that. I have no tact, And no talent, No candles left, I can't relax! I just happen to have What I know I can't stand, And that's— High standards for a man. So I imagined a fantasy. My next run was scheduled for midnight but I'd spent the month suffocating and suffering in waist trainers navigating vampires and I had even been stood over by the actual Devil herself on the subway ride home. What even was the point of running all this way and eating all this well If no matter who I tried to love would really turn to the same old evil thing that wanted me dead in the first place? Being honest, I still didn't know what it was at all— but maybe it was always going to try to bite me no matter what I did. So It didn't matter much when the overdue balance came equal to the amount I needed to purchase club standard CDJs, I didn't care about anything because I was never treated fairly with honest or good intentions. Not even from my birth, or my mother, and perhaps that was the problem. My human perception of the world was trained by this thing who could never really see my value or worth in the way that it would take to be fully loved. Something was always wrong with me, and so something was always wrong with the world. All I knew was, I wasn't panicking though it had been an obvious attack— the email had sent as I orgasmed, after a series of the same old system of stress I'd been in for years— revving engines and long bangs and other methods of keeping me from reaching climax— but it was my body, and so just because I was under surveillance for whatever reason; perhaps they were listening and this self release made them uncomfortable, but I needed it. It had been years since my last loving embrace— since my last touch, or stroke, or kiss— and so yes, while admittedly my senses were out of place, they were also heightened in that I knew what was happening in my apartment was wrong, and the worse it got, the more I kept track of the things that were happening, the better off I'd eventually end up, just by respecting myself and my own time. I needed recovery; running down the the gym to be hatestalker by some half naked model or some egotistical little man throwing and slamming things around was going to do no better for my psyche even with a run considered; instead of a mile of mantras, it would instead become a mile of trying to ignore whatever whoever had followed me into the gym was doing to get my attention. Luckily I had a Peloton in my room and with any luck at all, by the afternoon I'd have all the focus in the world to ride it— but for now I was writing, and thinking, and feeling my insides out after a long month sonic alchemy, which had also resulted in my finally reaching the conclusion that I was indeed being followed around. But why? Lil bitz Yo imagine if Amazon had a comment section. Not like reviews but an actual like— Comment section for the ads and products. Don't act like it wouldn't be the little place to just, like, go. [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved

Maybe I'm not afraid because it just feels temporary. The noise in the apartment made it easy to let go, and better yet, because of the noise— the only way a pro bono lawyer might speak with me is if I was evicted— then, explaining away that from the day I moved into the apartment my mental health began to spiral and, that recovery from homelessness and having left an abusive relationship became impossible with motorcycles and modified cars circling like buzzards, gangsters slanging on the corner banging music I hated, and an all around environment of unwellness, in which I was unable to cope with the mechanisms of even the simplest tasks, after being bombarded by these hellish people. I was sure that speaking with one sort of lawyer and explaining my heavily documented case would eventually lead to meetings with another kind of lawyer who would see my case and agree that I had been attacked, and severely wounded— and eventually, probably, compensated. It simply wasn't facet of my imagination but seemed there was sort of hate group targeted to stalk and harass me— even in Manhattan, after visiting the Apple Store, a random pair of motorcycles approached and revved their engines thunderously as I walked back to the studio, even startling another passerby, as she shook her head as if to say “that was horrible”, with this look of fear and disgruntlement. It had been two years of this for me, though, and so I was somewhat used to it. It still hurt, but not the way it used to. Inside, sort of like the way a boxer knows how to take a punch because he's trained for it. But this was not my job, and I was not getting paid, unless I could actually put my mind together enough to assimilate some sort of strategy; a lawsuit against the property management and the city itself for allowing the harassment, and at the end of the day, it didn't much care who was responsible, and whether it was politics or street theatre— I just wanted it to stop. I could honestly say that any sort of legal action was indeed not about the money, but rather an escape. Would I live in New York if I did not have to? Not by any means, anyway, in the way I did. Just the view alone set me off, and anytime one of the foam panels fell out of the window from sun or dust and the lot of cars and busy intersection peered through, a gut wrenching anxiety came over me like the way it did when I first saw it; even then, when I first viewed the apartment, I knew that something bad had happened here before I even moved in— and it was bad, the constant motorcycle attacks, and at one point they were not at all writeable enough off as “normal noise”, the way they used to wait until I was almost a sleep to rip through the block and create sonic booms that sounded like bombs—eventually these kinds of attacks stopped but it was around the first year that I started to realize due to these series of traumas my brain was wired differently.i understood that she's were acts of war, but why? I had no intentions of stirring anything up in this place and honestly, from the start, because I was stuck, I had just wanted to get out. Hold on. I got two jokes. Ok. What was the one about— Oh, it's so simple but since they hate black women so much it would probably make a white audience laugh. My ex punched me so hard, I thought I was going to run for president in 2028. That's it? That's the joke. That not a joke. You're right. That's not a joke. I'm not though. I realized that. Please. Don't hit me. [beat] Unless you hit me hard enough that I actually become the actual president. Then, you're free to assassinate me. Thats the joke? Yeah. What a horrible joke. Yeah. Kind of. Okay. What's the other one? It's the—it's that enter the multiverse joke on the Sean Evans timeline. Ok. (Who is Sean Ryan) Idk. [Sean Ryan was the Showrunner of The Shield, Starring Michael Chiklis and Walton Goggins__which ran from 2001-2007, and also fostered the writing career of Kurt Sutter, who went on to create Sons of Anarchy.] Anyway. One of the contestants from hot ones calls Sean and goes, Sean! And Sean's like: Whaddup? Sean! How do you do this bro? [sean is eating ghost pepper cereal for breakfast with ice cold horchata ) Ew. Nice. It was gonna be milk but SEAN EVANS (Aside) The cinnamon gives it a nice schwing. Apparently, The training for hot ones is a non-stop tolerance-topper. Sean RYAN is always doing his best to outdo himself. Yeaaaaaaaaahhhhhhhh! Thats right. Any fucking way. Sean! How do you do this everyday, buddy! Do what? My butthole is burning! I don't have one. You— what? I do not any longer have a butthole. Beg your pardon. I got it removed. What. What. Hold on, it's a multilayer joke. 2x Joke multiplier! Are we still playing this game? OH YEAH! goddamn. I really wanna see this fictional koolaid movie. WHERE'S SETH ROGEN? ROB LOWE is directing an episode of ENTER THE MULTIVERSE. DIRECTOR Quiet on Set! He turns to DRAKE BELL who is reprising his role as TIMMY TURNER. ROB LOWE Sorry, is that triggering to you? Nothing is said but instead he just shoots him a look. really on it with the zingers today. What can I say. I juice fasted and then ate like a normal person so maybe— I don't know. What's that supposed to mean. Everything is temporary. My next run isn't scheduled until after midnight but I might climb on the Peloton for an ironic spin. I owe everyone money. Not in the way that I ever wanted to be this bum, but in the way that all of my jobs have been awful enough that— honestly, I never quit, it just eventually all falls apart. I've been almost fondly remembering the— {Season 5} —summer in Las Vegas I had two awful jobs, no car, no place to live, and One boss who looked like Dillon Francis— And well. INT. LAS VEGAS ATHLETIC CLUB. WHENEVER. ITS OPEN 24 HOURS!!! WHEEEEEE!! Omg that guy looks just like Jimmy Fallon. BEFORE Oh, hi Jimmy. Hey! You finally noticed. I been noticing. You know I'm in a screen, right? You're in all the screens. Not all of them. ALL THE SCREENS A large wall of paneled Televisions hangs above the cardio center. … … MEANWHILE For while, the dude was everywhere. And I mean— Yo! I swear to God— —don't do that! — every time I look at a fucking tv, you're on it! shhh—watch your language! For what! You're on the Telivision, I'm not. You are on the Television! I'm not! —look just— trust me I don't have enough time before we're about to cut to co—[mmerciial!] [cuts to commercial] That dude is weird. Hm. That dude does look like Jimmy Fallon. — and one boss that looked like— Well, you get it. Yes he does. Very much so. Hm. Should I fuck him? Ew! No! What! Gross . No. Take his job! What? This incompetent drunken loser was, for a very short time— my manager. Just then when the car alarm when off, I express my not so subconscious, and must remark To remind my dear audience that this SUPACreature Is exponentially explicit, hence the Sexual exploitation of he who is hereby known As [Not] Jimmy Fallon. He was maybe the worst boss I ever had. If not the worse, definitely one of them. He was always drunk, Slept on the job, Was inappropriately explicit, Sexualized everything, And bitterly racist, Lived with his mother, Had social problems And was, Of course— Completely incompetent. Two hosts sit watching the serason premiere with popped corn. Oh. That's clever That's funny. See, those redactions could have been anybody. They were anybody. M— Jimmy!? Which Jimmy?! Last time I had a visionary dream about Jimmy Kimmel he was holding a white candle. At any rate, they were out of black, and I have no idea what that's supposed to mean, but I can only assume that when any host takes an extended hiatus, it's some kind of Contractual agreement. Ah-hem… Sign it. I don't know… about… that. And why not? This creature is one of the most powerful in the multiverse. [Jimmy Fallon] TINA FEY What. Are you serious. —and that's my time. Just trust me on this— NO. Pretty please! Oh, welL, since you made it pretty. Really? NO. Absolutely not. You are increasingly difficult. I learned to brew at thought at wishing wells Again, I gallop, striving to dance past the forced illusions of a non-corrupt decision, The end is near and also, simply The Division. ENTER THE MULTIVERSE: L E G E N D S — The Rock and And the Kite Part X: The Division Bell Part 10?! Yes. How is it part ten? Where are parts 6 through 9 I don't know. I have no clue. (You have no idea) Oh. I get it. The parenthesis are the voice of God. (It's all the voice of God, These are just more strong dictations.) Fix your diction! Fix your Dick Nixon if it don't swing left; On a finite curve, It switches with any direction, Irregular, my guest; I could have asked that. I have no tact, And no talent, No candles left, I can't relax! I just happen to have What I know I can't stand, And that's— High standards for a man. So I imagined a fantasy. My next run was scheduled for midnight but I'd spent the month suffocating and suffering in waist trainers navigating vampires and I had even been stood over by the actual Devil herself on the subway ride home. What even was the point of running all this way and eating all this well If no matter who I tried to love would really turn to the same old evil thing that wanted me dead in the first place? Being honest, I still didn't know what it was at all— but maybe it was always going to try to bite me no matter what I did. So It didn't matter much when the overdue balance came equal to the amount I needed to purchase club standard CDJs, I didn't care about anything because I was never treated fairly with honest or good intentions. Not even from my birth, or my mother, and perhaps that was the problem. My human perception of the world was trained by this thing who could never really see my value or worth in the way that it would take to be fully loved. Something was always wrong with me, and so something was always wrong with the world. All I knew was, I wasn't panicking though it had been an obvious attack— the email had sent as I orgasmed, after a series of the same old system of stress I'd been in for years— revving engines and long bangs and other methods of keeping me from reaching climax— but it was my body, and so just because I was under surveillance for whatever reason; perhaps they were listening and this self release made them uncomfortable, but I needed it. It had been years since my last loving embrace— since my last touch, or stroke, or kiss— and so yes, while admittedly my senses were out of place, they were also heightened in that I knew what was happening in my apartment was wrong, and the worse it got, the more I kept track of the things that were happening, the better off I'd eventually end up, just by respecting myself and my own time. I needed recovery; running down the the gym to be hatestalker by some half naked model or some egotistical little man throwing and slamming things around was going to do no better for my psyche even with a run considered; instead of a mile of mantras, it would instead become a mile of trying to ignore whatever whoever had followed me into the gym was doing to get my attention. Luckily I had a Peloton in my room and with any luck at all, by the afternoon I'd have all the focus in the world to ride it— but for now I was writing, and thinking, and feeling my insides out after a long month sonic alchemy, which had also resulted in my finally reaching the conclusion that I was indeed being followed around. But why? Lil bitz Yo imagine if Amazon had a comment section. Not like reviews but an actual like— Comment section for the ads and products. Don't act like it wouldn't be the little place to just, like, go. [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved

Maybe I'm not afraid because it just feels temporary. The noise in the apartment made it easy to let go, and better yet, because of the noise— the only way a pro bono lawyer might speak with me is if I was evicted— then, explaining away that from the day I moved into the apartment my mental health began to spiral and, that recovery from homelessness and having left an abusive relationship became impossible with motorcycles and modified cars circling like buzzards, gangsters slanging on the corner banging music I hated, and an all around environment of unwellness, in which I was unable to cope with the mechanisms of even the simplest tasks, after being bombarded by these hellish people. I was sure that speaking with one sort of lawyer and explaining my heavily documented case would eventually lead to meetings with another kind of lawyer who would see my case and agree that I had been attacked, and severely wounded— and eventually, probably, compensated. It simply wasn't facet of my imagination but seemed there was sort of hate group targeted to stalk and harass me— even in Manhattan, after visiting the Apple Store, a random pair of motorcycles approached and revved their engines thunderously as I walked back to the studio, even startling another passerby, as she shook her head as if to say “that was horrible”, with this look of fear and disgruntlement. It had been two years of this for me, though, and so I was somewhat used to it. It still hurt, but not the way it used to. Inside, sort of like the way a boxer knows how to take a punch because he's trained for it. But this was not my job, and I was not getting paid, unless I could actually put my mind together enough to assimilate some sort of strategy; a lawsuit against the property management and the city itself for allowing the harassment, and at the end of the day, it didn't much care who was responsible, and whether it was politics or street theatre— I just wanted it to stop. I could honestly say that any sort of legal action was indeed not about the money, but rather an escape. Would I live in New York if I did not have to? Not by any means, anyway, in the way I did. Just the view alone set me off, and anytime one of the foam panels fell out of the window from sun or dust and the lot of cars and busy intersection peered through, a gut wrenching anxiety came over me like the way it did when I first saw it; even then, when I first viewed the apartment, I knew that something bad had happened here before I even moved in— and it was bad, the constant motorcycle attacks, and at one point they were not at all writeable enough off as “normal noise”, the way they used to wait until I was almost a sleep to rip through the block and create sonic booms that sounded like bombs—eventually these kinds of attacks stopped but it was around the first year that I started to realize due to these series of traumas my brain was wired differently.i understood that she's were acts of war, but why? I had no intentions of stirring anything up in this place and honestly, from the start, because I was stuck, I had just wanted to get out. Hold on. I got two jokes. Ok. What was the one about— Oh, it's so simple but since they hate black women so much it would probably make a white audience laugh. My ex punched me so hard, I thought I was going to run for president in 2028. That's it? That's the joke. That not a joke. You're right. That's not a joke. I'm not though. I realized that. Please. Don't hit me. [beat] Unless you hit me hard enough that I actually become the actual president. Then, you're free to assassinate me. Thats the joke? Yeah. What a horrible joke. Yeah. Kind of. Okay. What's the other one? It's the—it's that enter the multiverse joke on the Sean Evans timeline. Ok. (Who is Sean Ryan) Idk. [Sean Ryan was the Showrunner of The Shield, Starring Michael Chiklis and Walton Goggins__which ran from 2001-2007, and also fostered the writing career of Kurt Sutter, who went on to create Sons of Anarchy.] Anyway. One of the contestants from hot ones calls Sean and goes, Sean! And Sean's like: Whaddup? Sean! How do you do this bro? [sean is eating ghost pepper cereal for breakfast with ice cold horchata ) Ew. Nice. It was gonna be milk but SEAN EVANS (Aside) The cinnamon gives it a nice schwing. Apparently, The training for hot ones is a non-stop tolerance-topper. Sean RYAN is always doing his best to outdo himself. Yeaaaaaaaaahhhhhhhh! Thats right. Any fucking way. Sean! How do you do this everyday, buddy! Do what? My butthole is burning! I don't have one. You— what? I do not any longer have a butthole. Beg your pardon. I got it removed. What. What. Hold on, it's a multilayer joke. 2x Joke multiplier! Are we still playing this game? OH YEAH! goddamn. I really wanna see this fictional koolaid movie. WHERE'S SETH ROGEN? ROB LOWE is directing an episode of ENTER THE MULTIVERSE. DIRECTOR Quiet on Set! He turns to DRAKE BELL who is reprising his role as TIMMY TURNER. ROB LOWE Sorry, is that triggering to you? Nothing is said but instead he just shoots him a look. really on it with the zingers today. What can I say. I juice fasted and then ate like a normal person so maybe— I don't know. What's that supposed to mean. Everything is temporary. My next run isn't scheduled until after midnight but I might climb on the Peloton for an ironic spin. I owe everyone money. Not in the way that I ever wanted to be this bum, but in the way that all of my jobs have been awful enough that— honestly, I never quit, it just eventually all falls apart. I've been almost fondly remembering the— {Season 5} —summer in Las Vegas I had two awful jobs, no car, no place to live, and One boss who looked like Dillon Francis— And well. INT. LAS VEGAS ATHLETIC CLUB. WHENEVER. ITS OPEN 24 HOURS!!! WHEEEEEE!! Omg that guy looks just like Jimmy Fallon. BEFORE Oh, hi Jimmy. Hey! You finally noticed. I been noticing. You know I'm in a screen, right? You're in all the screens. Not all of them. ALL THE SCREENS A large wall of paneled Televisions hangs above the cardio center. … … MEANWHILE For while, the dude was everywhere. And I mean— Yo! I swear to God— —don't do that! — every time I look at a fucking tv, you're on it! shhh—watch your language! For what! You're on the Telivision, I'm not. You are on the Television! I'm not! —look just— trust me I don't have enough time before we're about to cut to co—[mmerciial!] [cuts to commercial] That dude is weird. Hm. That dude does look like Jimmy Fallon. — and one boss that looked like— Well, you get it. Yes he does. Very much so. Hm. Should I fuck him? Ew! No! What! Gross . No. Take his job! What? This incompetent drunken loser was, for a very short time— my manager. Just then when the car alarm when off, I express my not so subconscious, and must remark To remind my dear audience that this SUPACreature Is exponentially explicit, hence the Sexual exploitation of he who is hereby known As [Not] Jimmy Fallon. He was maybe the worst boss I ever had. If not the worse, definitely one of them. He was always drunk, Slept on the job, Was inappropriately explicit, Sexualized everything, And bitterly racist, Lived with his mother, Had social problems And was, Of course— Completely incompetent. Two hosts sit watching the serason premiere with popped corn. Oh. That's clever That's funny. See, those redactions could have been anybody. They were anybody. M— Jimmy!? Which Jimmy?! Last time I had a visionary dream about Jimmy Kimmel he was holding a white candle. At any rate, they were out of black, and I have no idea what that's supposed to mean, but I can only assume that when any host takes an extended hiatus, it's some kind of Contractual agreement. Ah-hem… Sign it. I don't know… about… that. And why not? This creature is one of the most powerful in the multiverse. [Jimmy Fallon] TINA FEY What. Are you serious. —and that's my time. Just trust me on this— NO. Pretty please! Oh, welL, since you made it pretty. Really? NO. Absolutely not. You are increasingly difficult. I learned to brew at thought at wishing wells Again, I gallop, striving to dance past the forced illusions of a non-corrupt decision, The end is near and also, simply The Division. ENTER THE MULTIVERSE: L E G E N D S — The Rock and And the Kite Part X: The Division Bell Part 10?! Yes. How is it part ten? Where are parts 6 through 9 I don't know. I have no clue. (You have no idea) Oh. I get it. The parenthesis are the voice of God. (It's all the voice of God, These are just more strong dictations.) Fix your diction! Fix your Dick Nixon if it don't swing left; On a finite curve, It switches with any direction, Irregular, my guest; I could have asked that. I have no tact, And no talent, No candles left, I can't relax! I just happen to have What I know I can't stand, And that's— High standards for a man. So I imagined a fantasy. My next run was scheduled for midnight but I'd spent the month suffocating and suffering in waist trainers navigating vampires and I had even been stood over by the actual Devil herself on the subway ride home. What even was the point of running all this way and eating all this well If no matter who I tried to love would really turn to the same old evil thing that wanted me dead in the first place? Being honest, I still didn't know what it was at all— but maybe it was always going to try to bite me no matter what I did. So It didn't matter much when the overdue balance came equal to the amount I needed to purchase club standard CDJs, I didn't care about anything because I was never treated fairly with honest or good intentions. Not even from my birth, or my mother, and perhaps that was the problem. My human perception of the world was trained by this thing who could never really see my value or worth in the way that it would take to be fully loved. Something was always wrong with me, and so something was always wrong with the world. All I knew was, I wasn't panicking though it had been an obvious attack— the email had sent as I orgasmed, after a series of the same old system of stress I'd been in for years— revving engines and long bangs and other methods of keeping me from reaching climax— but it was my body, and so just because I was under surveillance for whatever reason; perhaps they were listening and this self release made them uncomfortable, but I needed it. It had been years since my last loving embrace— since my last touch, or stroke, or kiss— and so yes, while admittedly my senses were out of place, they were also heightened in that I knew what was happening in my apartment was wrong, and the worse it got, the more I kept track of the things that were happening, the better off I'd eventually end up, just by respecting myself and my own time. I needed recovery; running down the the gym to be hatestalker by some half naked model or some egotistical little man throwing and slamming things around was going to do no better for my psyche even with a run considered; instead of a mile of mantras, it would instead become a mile of trying to ignore whatever whoever had followed me into the gym was doing to get my attention. Luckily I had a Peloton in my room and with any luck at all, by the afternoon I'd have all the focus in the world to ride it— but for now I was writing, and thinking, and feeling my insides out after a long month sonic alchemy, which had also resulted in my finally reaching the conclusion that I was indeed being followed around. But why? Lil bitz Yo imagine if Amazon had a comment section. Not like reviews but an actual like— Comment section for the ads and products. Don't act like it wouldn't be the little place to just, like, go. [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved

Hallo Freunde hier kommt eine neue Episode meiner Indie Dance The Mix Series... Diesmal mit Dj Sergione Mitbegründer des Kollektivs Sònica! Barcelona, Spanien. Viel Spaß Kurt Kjergaard Hello friends, here comes a new episode of my Indie Dance The Mix series... This time with DJ Sergione, co-founder of the Sònica collective! Barcelona, ​​Spain. Enjoy, Kurt Kjergaard LINK SOUNDCLOUD ARTIST https://soundcloud.com/sergionebcn SOUNDCLOUD COLLECTIVE Sònica! https://soundcloud.com/sonicabcn INSTAGRAM https://www.instagram.com/sergione_music/ BIO Sergione's passion for music dates back to when, as a teenager, he compulsively recorded cassette compilations to liven up any party he encountered. In the late 90s, he joined forces with the regulars of the Barcelona underground, organizing private parties, first loaded with turntables and then fully entering the digital world with the first CDJs that were just beginning to appear at the time. Between 2005 and 2014, he was a resident DJ at the legendary, now-defunct Arriki Town club in Cornellà de Llobregat, promoting indie and electronic culture alongside other legendary venues such as Deposito Legal and Salamandra, in a time of constant evolution. After a brief, enforced break, he returns to the scene in Barcelona to resume his DJ career, where he unleashes his current musical affiliations: Dark Disco, Electro, EBM, Indie Dance... Without neglecting many other styles, and taking advantage of the extensive musical background that this irredeemable music lover wields, you'll find him in booths at venues such as Freedonia, Sala Taro, Cafe la Palma, nonamenoaddress, and 78/33, among many others. His sets are characterized by their contagious energy that extends to the dance floor, with a tremendous obsession with connecting with the audience and making them dance like mad. Sergione can also be seen in Ibiza, Vigo, Porto, and Madrid, currently combines his DJ work with production and is the co-founder of Sònica!, a collective founded in 2024 with the aim of revitalizing Barcelona's underground scene and establishing new bridges with like-minded collectives in other cities and countries, such as the alliance with Ruralive (Portugal) or the recent one with Circuit (Italy). Tracklist 1. Boot & Tax - Acido (Original Mix) 2. Ed Dix - Hybriduntz 3. Van Hust Band - shisharroneh (Fonsi G Remix) 4. AckerMan - Can we rewind time (TYU Remix) 5. Tierra De Ovnis - Cayendo en la espiral (Corresponsal Remix) 6. Prince Terrible - Feral Beat (Technicism Remix) 7. Berny,Ademarr - Phenomenon 8. Chinosynth, Josefo, Vleks - Suzuki Drive 9. Darlyn Vlys - Have you seen 10. Fausto - don´t remember your name 11. Tonerrr, Cesar Lando, plasticwine - Voces 12. Funkwerkstatt - Standwaage 13. DC Salas - Galactic Pulses 14. Teemon & Poomba - Stellar Love (Psycho Weazel remix) Disclaimer: All material on this channel is posted with the explicit consent of the artist/labels and no copyrights are violated in any way. If you are a copyright owner and want your work to be removed from our channel please contact us with a personal message here and we will remove your material right away. Please note that we do not benefit from posting this material and have only the intention to help new and emerging artist to be heard by supporting & promoting podcasts. Thx a lot... Kurt Kjergaard

TECH CLUBBERS PODCAST W/ MARK WILLIAMS Mark Williams is a veteran that has paid his dues over more than two decades on the scene as a DJ and producer. Since the 80s, when he started his career at UK hot spots like the Ministry of Sound and Final Frontier, he has been laying the groundwork for his future success. His production work has also gained him acclaim the world over and he has released a staggering catalogue of quality tracks on some of the most respected techno labels in the world including: Tortured, Dark House, Pure Plastic, Phont, Primate, Subject Detroit, Beardman, ANAØH and Carl Cox's Ultimate Trax imprint, to name a few. In addition to releasing on other labels, Mark also has his own imprints: Artificial Vinyl, Real Sessions, Macumba and Real Vinyl. Mark has also gained worldwide recognition with his skilful and distinctive DJing style. Mixing tribal, tech house and techno on three decks and CDJs, his rocking performances have helped him to develop a strong fan base and facilitated gigs in places like Berlin, Spain, Turkey, Slovenia, Japan, Brazil, Colombia, Macedonia, Sweden and more. Follow MARK WILLIAMS here: Facebook: https://www.facebook.com/mark.williams.3152/ Instagram: https://www.instagram.com/markwilliams_dj Soundcloud: https://soundcloud.com/markwilliams_dj

Relentless rhythms and Latin dance history from one of TraTraTrax's finest. Percussion is, at the root, a conversation. It's about different instruments meeting each other, and interacting to form something bigger than the sum of its parts. Few engage in this dialogue as boldly as Pablo De Vargas, AKA Uruguayan experimentalist Lechuga Zafiro, who draws from tradition, to make sounds like candombe and clave feel, well, completely new. De Vargas' music reaches outward, building bridges between Montevideo and Bogotá, Tijuana, Berlin and beyond. He's a key figure in the hybridisation of Latin American club music, with releases on labels like NAAFI and an album on TraTraTrax. His RA Podcast plays like a manifesto in motion. RA.985 opens with a recording of Jorginho Gularte, a Uruguayan composer, playing a jazz rhythm, from there, it expands: cuban guaguancó, Venezuelan drums, batida, tribal, techno—it's all here, stitched together with precision and intention. De Vargas is also, crucially, reckoning with these roots. His 2018 EP Testigo confronted the colonial violence embedded in the history of the Río de la Plata. His sets are similarly alive with memory—asking, without nostalgia: what does it mean to inherit rhythm? Who gets to carry it forward? He's also just a killer DJ, one of those rare artists who uses CDJs like an instrument. His sets are full of hot cues, delay FX and left turns. It's technical, but never cold. It's, in a word, funky. @lechugazafiro Find the interview and tracklist at ra.co/podcast/985

The one time It might actually be a good thing to pull the Jack… I've been handling well with the Ace [Full House] I was on time, but what I did after, Or where I went [I didn't] I can't recall. Now's not the time for that. We're behind and off schedule I'm failing at everything, i think. Mud on my mind. What a card; What a game when the whole deck Is Jokers. What a card, The Jack What a game with a whole deck made of Jokers Meanwhile, The hosts and magicians Are still playing poker What a game I'm sure I was on time, But what I did after I can't recall Get rid of it all damn , he's evil! All the dope in the world and that later , i'm busy I don't want no bubbles in my water! Finna call the cops I got stalkers I been sick of working harder I got all my — Of the curb But the cure I'm sure Move up start over — Everything can go but the water Year of the snake But the snake's car don't turn over In time for work Guess that's a dunce Got a whole bunch of Don't give a fuck I'm finna cal the cops This is Brooklyn New York What you want an award For standing on the corner? You look stupid, Stoop kid, get off the stoop In my first 8 hours in CDJs, I learned that my music should be a reflection of not just “whatever”— but music I knew well enough to be able to turn frontwards and backwards and upside down; music I knew inside out— and that my own music should reflect Just as I suspected This is for the kids, I could dissect it, But I been busy Focus on the— Nobody else is— Literally— Don't want— —paying attention— To my songs, Yet seems to be written In clips— Like the script is. Hm. Way to stay relevant But doesn't make any sense— I think they're leading the herds all to slaughter I think insomniac has me a purpose, I should just —showtunes! Follow the host route. … ‘stick to bass music' I wasn't paying attention so much to obscure faded voices from out of nowhere so much anymore, but also— perhaps I was being lead in a certain direction. What was I looking for? New music to mix with my own that would get me noticed. But perhaps I had already been noticed. I was willing to spring on a compilation album, but it wasn't avalible, however, newly avalible— Ah, subtronics. I was something like obsessed with subtronics, because in understanding the dynamics of his approach to music making, i understood it well enough to dissect what he was doing— but not well enough to replicate it. I didn't have the patience, and I didn't want to entirely replicate it anyway. I just knew I needed something “like” it in order to play big festival stages. Especially the basspod. For the moment, I was trapped somewhere between correct grounds and wasteland, more metaphorically speaking one than the other and I hadn't an actual decent mix to provide insomniac anyway— I was a little retarded when it came to things that seemed simple maybe to anyone else, but to me, were not. i hadn't mastered full control of a professional set up, nor had I entirely learned to understand the formulaic approach to festival Subdept What a typo. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2018-2025 ALL RIGHTS RESERVED. © -U.™

Follow @ambrocenide I've been trying to play my records out a lot more lately. For the longest time, I only played records — I've schlepped vinyl from Mexico City to Singapore and every in between. I've had my ups-and-downs in my DJ career, but lately I started getting booked for bigger gigs. The people I was opening for — HorsegiirL, VTSS, DJ Assault — were traveling into town and playing CDJs, so I really had focus on building my digital collection. It's better for my back to show up with a thumb drive in my pocket. But vinyl just hits different. I love the glacial pace of taking the time to go through all my records, trying to find that perfect sequence (this one ended up being a bunch of dubby 303-drenched hypnotic mushroom techno). And then, in the moment, when it all falls apart, you have to let go and embrace the chaos. This mix was made off a pair of Technics long overdue for a tune-up and a cheap Pioneer mixer — natural feel steez. Tracklist Aural Float - Zwei G Evigt Mörker - Den Väldige BNJMN - Titan Dome Denham Audio - Cinnamon Vanilla KiNK - Disco Spectrum Astral Body - Pyschastenia Barbara Morgenstern - Aus Heiterem Himmel (Ellen Allien Remix) The Sci-Fi Witchdoctor - Kala Meridians Kan Shinomura - Left Behind softsoftcore - Meteor Shower Silver & Steel - Dreaming of Disco Valley Oxia & the Hacker - Last Test (Part I) Forest Witches - Delusional Clock ORBE - Motor Takaaki Itoh - Step to Makin' Roza Ternezi - Cosmology Toneking - Pneu (Insider Remix) Henrik B - Det Är Tanken Som Räknas No Moon - Cobra Car Certain Tracks - Screaming Wata Igarashi - Kaleidescopic NYCO - Echelon Skee Mask - Vitamin 313

Send us a textLucky #13 is up next on the Club South Mix series. This time we tap in with the perreo club style of DragonnQueen. DRAGONNQUEEN is a fiery force behind the decks, bringing a fusion of Latin rhythms, high-energy club mixes, dance edits, house, baile funk, throwbacks, and hip-hop to every set. A proud Afro-Latina queer femme from Houston, Texas, she has become known for seamlessly blending genres to create an unforgettable dancefloor experience. Despite being a full-time DJ for just over a year, DragonnQueen has already made waves, spinning at numerous high profile events and proving her ability to command any crowd. Specializing in CDJs and Pioneer equipment, she delivers precise, dynamic performances that keep the party alive. Beyond the booth, she is the founder of Venusian Events, curating unique, community-centered experiences, and is a member of Indulge, the powerhouse queer Texas DJ collective pushing boundaries in sound and culture. Known for serving high fashion and unique looks at every event, DragonnQueen brings an undeniable presence that captivates both the ears and the eyes. FOLLOW DRAGONNQUEEN ON SOCIAL MEDIA!https://www.instagram.com/dragonnqueenhttps://www.youtube.com/@dragonnqueenn?si=F7T340MbGNNWiI4jhttps://soundcloud.com/dragonnqueenSupport the showThe South Gots Something to Say!

Jared Jackson—respected DJ, producer, and educator—shares his perspective on how DJ culture has changed, why stability gives him creative freedom, and the discipline it takes to stay true in a clout-driven era. From educating into DJing to balancing passion with purpose, Jared drops gems on integrity, discipline, and what it really means to build a legacy without selling out.Creative Ambiance Instagram: https://www.instagram.com/creative_ambiance/TikTok: https://www.tiktok.com/@creativeambianceTwitter: https://twitter.com/ambiancepodcast Spotify: https://open.spotify.com/show/6rMRH8DVAWKrRGjdMkVMfk?si=0FHGGaYyRFWpEVRyqX0p7w Apple Podcast: https://podcasts.apple.com/us/podcast/ambiance/id1466436193Jared JacksonInstagram: https://www.instagram.com/thisisjaredjackson/YouTube: https://www.youtube.com/channel/UCexY1Ud-xKeX-hAIiDykrsASpotify: https://open.spotify.com/artist/6xPRmN9jg4Vq3hOQkhmvDt?si=4b5x6Qr9R6Kfn7HZX2OP6Q&nd=1&dlsi=843bc9086ce2436cApple Music: https://music.apple.com/us/artist/jared-jackson/432226059Everything: https://linktr.ee/thisisjaredjackson0:00 Intro1:00 Dedication to the Craft5:30 Intro to DJing12:30 How DJ Culture Has Changed17:30 Hip-Hop & Dance Music Influences34:30 9-5 Gives You Power41:00 Stability & Professionalism47:00 Juggling Teaching & DJing1:02:00 Jared's Gripe w/ Content/Socials1:06:00 Bar is Low in DJing1:11:00 CDJs vs Turntables1:17:30 Teaching the Youth to DJ1:21:30 Open-mindedness1:29:00 Not Being a Sellout 1:35:00 Competition in Music1:41:00 The Future 1:45:00 Serato & Production Tools1:52:00 Creative Process2:06:00 Closing

Bass artist Jaenga had a clear philosophy from day one, music should not be limited by industry standards or genre boundaries. Erupting onto the scene in 2015, Jaenga distinguished himself in the festival circuit early, with his signature purple school bus and electrifying bass sounds. Jaenga and the “renegade bus” are renowned for hosting some of the biggest names in the electronic scene, attracting top talent such as Griz, Space Jesus, Eprom, Slushii, and Buku with its collaborative environment and creative energy. Joining the lineup of Electric Forest, and Camp Bisco, he has defined his live shows by immersing audiences in the world of Jaenga. A bass purist with retro sensibilities, Jaenga integrates live guitar, drums, or even just a pair of CDJs into his experiential performances. His new EP, Toulambi Tribe, released in the fall of 2018 on Zeds Dead's Deadbeats label, featured the signature bass-heavy sounds and ambient soundscapes that have become synonymous with Jaenga. Taking inspiration from the ideologies of the Toulambi tribe, human technological syncretism, and his own nomadic spirit has enabled Jaenga to created a timely piece that accurately reflects and questions the current zeitgeist. Along with his EP, Deadbeats released a Jaenga remix of the Zeds Dead's track “Kill Em” in October 2018 alongside featuring his single "Gold Rings" on an original Deadbeats compilation.

QDJM Archives - LIVE @ Planet Breaks @ The Buttermarket in Shrewsbury, UKRecorded in 2004, this set is like an intersection of all my musical worlds at the time. Part worldwide underground and party NYC club style.This was my last all vinyl set in the UK, after this, when I had the chance to travel there or anywhere overseas, I played on CDJs. Weight fees and fears of lost records impacted that decision at that time.https://www.facebook.com/groups/18682604963/https://www.facebook.com/profile.php?id=100068414706056 The QDJM Archives are my re-sharing of mixes and sets that were once here on podomatic, but I ran out of space and took them down in lieu of newer works. Some of these will be by requests, some will be first time posts. Look out for the B&W photo of me keeping my head to the sky and you'll know there's another retro reminisce session for your enjoyment. My footprints. ---  https://www.youtube.com/channel/UC5gQLsodBsCys1_3Zbm83vghttps://podcasts.apple.com/gb/podcast/qool-dj-marv-aural-memoirs-and-buttamilk-archives/id269880758https://music.apple.com/us/artist/qool-dj-marv/1558418894https://www.instagram.com/qooldjmarv/https://qooldjmarv.bandcamp.com/album/sound-paths-v-1https://tidal.com/browse/artist/23883666https://www.mixcloud.com/qooldjmarv/https://open.spotify.com/artist/48vhJ2d1hVaFHf6gqXeTm0?si=fWO0N456QeWRMWLUtqe4Yghttps://twitter.com/qooldjmarvhttps://www.threads.net/@qooldjmarvhttps://www.facebook.com/MarvJColeman/https://soundcloud.com/qooldjmarvhttps://www.twitch.tv/qooldjmarvhttps://www.paypal.com/paypalme/QoolDJMarvMusic

QDJM Archives - LIVE @ Planet Breaks @ The Buttermarket in Shrewsbury, UKRecorded in 2004, this set is like an intersection of all my musical worlds at the time. Part worldwide underground and party NYC club style.This was my last all vinyl set in the UK, after this, when I had the chance to travel there or anywhere overseas, I played on CDJs. Weight fees and fears of lost records impacted that decision at that time.https://www.facebook.com/groups/18682604963/https://www.facebook.com/profile.php?id=100068414706056 ---  https://www.youtube.com/channel/UC5gQLsodBsCys1_3Zbm83vghttps://podcasts.apple.com/gb/podcast/qool-dj-marv-aural-memoirs-and-buttamilk-archives/id269880758https://music.apple.com/us/artist/qool-dj-marv/1558418894https://www.instagram.com/qooldjmarv/https://qooldjmarv.bandcamp.com/album/sound-paths-v-1https://tidal.com/browse/artist/23883666https://www.mixcloud.com/qooldjmarv/https://open.spotify.com/artist/48vhJ2d1hVaFHf6gqXeTm0?si=fWO0N456QeWRMWLUtqe4Yghttps://twitter.com/qooldjmarvhttps://www.threads.net/@qooldjmarvhttps://www.facebook.com/MarvJColeman/https://soundcloud.com/qooldjmarvhttps://www.twitch.tv/qooldjmarvhttps://www.paypal.com/paypalme/QoolDJMarvMusic

In this episode we sit down with Chris Hintz of Pinnacle Productions. This episode was super inspiring for us. Chris and Jeff at Pinnacle have really built a business from the ground up that is something to be proud of. Without giving to much away, the story is inspiring how they built the business from being a dj business, to a full on production studio that does not only djs, but film, productions, all things AV & live streaming ass well as a multi op with wedding djs. We loved getting to chat with Chris, and anyone that is needing to feel inspired should listen to this episode! Thanks for tuning in. Be sure to subscribe, like, follow, download, share and help grow the show! We appreciate all the DAFS PUNKS who listen each week!

Today, we're diving into a topic that's been buzzing in the DJ community. Join us for an eye-opening episode: "Why are DJ's STILL getting Shamed for using controllers in 2024."

In our latest podcast episode, I've got the incredible DJ Smitty sharing why DJ Controllers are better than CDJs!Imagine this: You're at the DJ decks, spinning tunes, and DJ Smitty spills the beats on why using DJ Controllers brings more magic to the music!

EPISODE 100 is finally here!!!! In this episode Drew & Fuse sit down with the one, and only DJ Kevin Scott. Kevin was recently on The Road Podcast, and talks a lot about his part as a producer on 'As I Am' - The Life And Times Of DJ AM, the documentary about the Legendary DJ AM. While we loved that episode, we wanted to talk to Kevin a lot about his success as a DJ. Kevin was the Resident DJ at LAX, DJ AM's club in LA. He was one of the original members of Deckstar, and traveled all over playing gigs. We talked with him about the importance of signature mixes, and making mixtapes. We also talk to him about being one of the first to make mixable intros, and acapella outs, the importance of prepping for gigs, and making edits. This is an amazing episode with someone we call a friend and mentor. We promise there is tons of valuable information in this episode. Thanks to everyone who has followed us on this journey, likes, shares, subscribes, follows, and supports us through it all. We appreciate all the DAFS PUNKS!!!

Becoming a successful DJ requires a combination of talent, dedication, and a strong work ethic. While there are no strict rules for becoming a DJ, there are certain key aspects that can be considered non-negotiable for anyone aspiring to pursue a career in this field:Technical Proficiency:Mastering the technical aspects of DJing is fundamental. This includes understanding how to use DJ equipment such as turntables, CDJs, mixers, and software programs. Proficiency in beatmatching, mixing, and understanding music theory is essential. DJs must be able to seamlessly blend tracks, create unique transitions, and maintain a consistent rhythm throughout their sets. Continuous practice and a deep understanding of your equipment are non-negotiable.Musical Knowledge:A deep knowledge of music across various genres is crucial. DJs should have a good understanding of music history, different styles, and what works well on the dancefloor. Being aware of music trends and having the ability to read the crowd are essential skills. Great DJs are not only skilled at mixing tracks but also curating playlists that create a captivating atmosphere and keep the audience engaged.Stage Presence and Crowd Connection:DJing is not just about playing music; it's also about connecting with the audience. Confidence, stage presence, and the ability to read the crowd's energy are non-negotiable. DJs should be able to interact with the audience, gauge their reactions, and adjust their music accordingly. Building a strong connection with the crowd can elevate a DJ's performance from good to unforgettable.Originality and Creativity:While it's essential to learn the basics and be inspired by established DJs, developing your unique style and sound is non-negotiable. Experimenting with different mixing techniques, incorporating unexpected tracks, and creating innovative mashups or remixes can set you apart. Being creative and original not only defines your brand as a DJ but also keeps your sets fresh and exciting for your audience.Remember, becoming a successful DJ takes time, dedication, and continuous learning. Stay open to new musical influences, practice regularly, and be persistent in honing your skills. Building a strong foundation in these non-negotiable aspects will significantly contribute to your growth as a DJ.Support this podcast at — https://redcircle.com/we-create-the-vibes-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Ashland Mines, AKA Total Freedom, AKA Big Gay Idiot DJ, AKA Bobby Beethoven, is one of the best and most influential DJs of the 21st century. Starting out at pioneering parties like Mustache Mondays and Wildness (which he cofounded with Wu Tsang)—and a regular at GHE20G0TH1K—Mines helped to define the style that would become known, however cringe-inducingly, as experimental club or deconstructed club, directly inspiring fellow visionaries like Arca. Like some of the best DJs before him, Mines uses the CDJs as an instrument, but that doesn't mean just fancy tricks and looping. Instead, he artfully throws together clashing sounds—effects, samples, monologues, pop and R&B acapellas, and beats that run the gamut from dancehall to kuduro to breaks and techno. He's not afraid of the grotesquerie of human life and movement (just check out the monologue at the beginning of this mix), and he likes to push buttons. Once he put on a party where dancing wasn't allowed. Some of his sets are intentionally anxiety-inducing, evoking horror movies and modern classical composers like Penderecki, while others are bouncy and ebullient, weaving between genres and tempos like an old-school platformer. The best are both. On Mines's RA Podcast—a milestone 900th in the series—he shows off this inimitable style, sharpened and reinforced over a decade-and-a-half of playing some of the world's best parties, fashion shows, you name it. He's the kind of DJ who creates his own music as he goes along. He makes you hear old tracks—especially pop music and R&B—in a whole new way. Titled "Cursed Piercing," this is a near-hour of controlled chaos that'll confound you at one moment and deeply move you the next. Read more at https://ra.co/podcast/900

In this episode Drew & Fuse sit down with Captn20 from Detroit, now calling ATX home! We talk about the transition of making a big move like that. We talk health and wellness. We talk about his role as a talent buyer, and his come up in Detroit. We talk travel hacks & airline cards. We talk what his travel schedule looks like, and whats it's like being on the SKAM roster. This was a fun episode, and lots of information to take in. As always thanks for following along, make sure to subscribe, like, follow, download, rate & review.

When you're learning to DJ, you're learning to match your own musical expressions with the desires of an audience. It isn't just matching beats, or scratching over songs. It's about being observant, empathic, and reactive. Contrary to popular belief, learning to DJ is not an easy route to overnight success. This takes work, and hustle, and time. It's not difficult to start. But it is difficult to stand out, and to be exceptional. WHAT BETTER WAY FOR ME TO CONNECT THE FREQUENCY WITH THE VIBEZ and get my guy DJ BEEJAY and his song WHAT FRIENDS? YOU ALREADY KNOW THE VIBEZ ARE SET AND UNMATCHED. ITS JUST A VIBE TING. Connect now on iheartradio and all major platforms. Don't skip a beat. What does DJ mean? A DJ (or disk jockey) is a person who plays recorded music for an audience, often in bars, clubs or parties. DJs use a controller, turntables or CDJs to cue up, combine and play songs from vinyl records, CDs or digital audio files on a computer. To become a DJ, you need to be: *able to communicate easily with people *outgoing and confident *interested in music *well organised *able to operate technical equipment *able to think and react quickly, if equipment breaks down, for example ARTIST/GUEST OF THE WEEK: https://instagram.com/dj_beejay2e?igshid=YmMyMTA2M2Y= CEO/HOST of P.E.G: https://instagram.com/lyrikal_lyriks?igshid=YmMyMTA2M2Y= CVO of P.E.G: https://instagram.com/pegpodcast?igshid=YmMyMTA2M2Y= OFFICIAL P.E.G PAGE: https://instagram.com/pegpodcast?igshid=YmMyMTA2M2Y= STUDIO: https://instagram.com/dreambigctx?igshid=YmMyMTA2M2Y=

Mixed live by Honowski in Cologne on 26th March 2023. Words from the artist: This mix is inspired by the untranslatable German idiom "sich einen Film fahren", which is a mixed metaphor about "driving yourself a film," and is used to describe hallucinating, being entirely in the grip of your imagination, or following a wild idea. Can you spool yourself a film? See, it doesn't really work in English… Perhaps the closest word is ‘unspooling,' so you can call this mix that too. The mix begins - as perhaps many things on Klang Mag do - with an online argument. In the middle of the pandemic, I posted a comment on a certain online forum about my preference for wrong speeding Coil records, specifically the ones made under the influence of the dubplate culture of the early nineties. This comment did not go down well with some members of this forum. However, playing the ElpH records at the wrong speed sounds amazing, so that's how this mix begins. What never ceases to fascinate me about the late post-industrial period in British music in the nineties is how willing these so-called avant-garde artists were to engage with pop music and culture. On the one hand, this was influenced by the fact that their artistic community had actually managed to have pop hits in the eighties, while on the other it just reflects the radical openness of the best weirdo, out-there artists. After all, even Bernard Parmegiani soundtracked horror movies. Witch house is perhaps a more recent nexus for such contrary and coagulating impulses. The art school warehouse noise crowd meets trap producers on ecstasy. While the cultural appropriation inherent in that scene always needs addressing, witch house, and its close cousin vaporwave were (in the time it used to take to torrent a movie) re-appropriated by artists like Lil B and the Goth Money crew. This then led to such trans-dimensional collaborations as Gangsta Boo and Sightless Pit, or Nick Weiss, Jacolby Satterwhite and Satterwhite's mother's release as PAT, both featured in this mix. Inspired by Satterwhite's paintings, he has a great series influenced by Tricky which I've featured – the Nearly God track Poems, with the late Terry Hall. The magpie tendencies of witch house are a clear but inadvertent prelude to the present playlist era. Music was being pirated so flagrantly and with such genius (see those SpaceGhostPurrp instrumentals) that it is little wonder that we have to re-learn to value our access to it. This mix is all vinyl – and I thoroughly encourage you to seek out all these records and play them so much you have to buy new copies. Analogue might not be necessary, but it is fun. That being said, the freedom inherent in playing records as wrong as you like can also be achieved by using CDJs or a DAW to make edits, so total sonic freedom is yours, whatever the format. In this mix, I have tried to apply the musique concrète toolkit by stitching together longer, abstract ambient passages with pop music; something that Klein achieves with her own compositions on her truly radical LPs. But which are the tools here? Is it the vinyl sound objects? Are the segues between the ambient passages or the pop songs? Perhaps that's what's magic about telling stories with sound: the equivalences between quite opposing styles can bring about completely new meanings, and still remain coherent. Dream logic accepts form and incongruence reveals unconscious intentions. This show was made on a Sunday, and you can hear that in the softened textures and sleepy mixing. Sometimes it's all about drifting. The image above is from a recent video piece that I made for LALA Athens, entitled Custard, which was inspired by fragments of Gertrude Stein. This is also the first Episode of the radio show Sonic Fictions on 674fm, it was recorded live in Cologne on 26th March 2023.

Starlight Thursdays 159 Featuring Luna Bear. 3 years ago a friend of his with a set of old CDJs offered him the opportunity to learn and the rest was history. Although known for his ability to widely span many different genres, Luna Bear's love for halftime deep dub and bass music are what keep driving him forward and further into the industry. As the owner/founder of Ubuntu Productions based out of Billings, MT he is always hosting local events, and is regularly involved with other local and regional events as well. He's also been playing a monthly Ecstatic Dance event for over a year now at Studio Soul in Billings. He's played a handful of events for Foundation Entertainment and Music Lives Here in Bozeman, MT as well as sharing the stage with local and regional artists including Beautiful Existence, DAWge, ET3, Danktech, and more. In the infancy of his own personal journey as an electronic producer, he looks forward to learning even more about the industry and creating his own music. A few words from Luna Bear. I've been in the music world for most of my life, but DJing was the first musical art that gave me full control over all the different things and ideas I wanted to try going on in my head musically. Electronic producers are continually pushing the boundaries of sound design and helping drive the sound engineering behind sound system culture. I really enjoyed getting to put this mix together. I haven't had as many opportunities to play dub music lately and it was good to get back to what started it all for me. This mix spans genres from Halftime, Dubstep, Hip Hop and Deep Dub. Featuring tracks from IDHS, Dubamine, Burning Bush, Kwizma, Togeki, Kroomen and more. Hope you enjoy. -Luna Bear- For more check out his SoundCloud https://on.soundcloud.com/MJVNtYannQJB1Hfs8

QRTR is an electronic music producer and DJ based in Brooklyn, NY.Brooklyn's Meagan Rodriguez, aka QRTR, learned how to use CDJs in a smoky discotèca an hour before DJing in front of a crowd of dancing Portuguese club-goers. She returned to the same club years later, but this time, she had her own original music to share. Bouncing between high-energy DJ mixes and hypnotic original live sets, QRTR has shared the stage with the likes of Tokimonsta, Tiga, Phantoms, Galantis, and Oliver, to name a few. QRTR has performed at some of New York's most renowned nightclubs, including The Brooklyn Mirage, Output (RIP), Good Room, Elsewhere, and Bossa Nova Civic Club. In 2018, she debuted her live setup while headlining at Brooklyn Bazaar — weaving together an hour-long live journey of remixed original tracks. While her Brooklyn home base will always be número um, QRTR has toured internationally, performing in Portuguese open air clubs and smoky Parisian lounges.  Enjoy x

In this episode Drew & Fuse sit down with Jeff Scott Gould from SCE Event Group. He tells us one of the craziest story's we have heard on the show to date. We don't want to spoil anything but its a must listen, with pictures included. We talk music, and Serato Top 5, new tech, and Jeff gives us tips on having a healthy relationship within the industry. As always please Rate, Review, Follow, Subscribe, Share, Tag! We appreciate you all so much! For more on JSG: https://solo.to/jeffscottgould https://www.instagram.com/jeffscottgould/ https://www.facebook.com/JeffreyScottGould https://www.youtube.com/channel/UCvY6Oi5us2ok3wPI7yy1tpw Use promo code "DAFS" at Briggs Beard Co. for 20% off! https://briggsbeardco.com/ Use Coupon Code “DrewAndFuseShow' at www.directmusicservice.com for 30% off your first month. If you are in the market for a photo booth help support the show by using our salsa booth link below: https://glnk.io/5w24l/drew-pierce

As part of RA2122, our ongoing celebration of 21 years of club culture, we'll be featuring some of our favourite DJs from around the world, highlighting the parties or clubs most important to their lives in dance music. Chris Clayton, AKA Karizma, takes DJing seriously. But he also knows that it's about having fun, or at least helping other people to have fun. This is the formula that makes him such a fantastic DJ, and one of the most technically skilled around (he uses CDJs like few others can). He practices two hours every day, and has been DJing since he was 13. For him, there was no specific party or club that made him the DJ he is today—it was the whole Baltimore scene he grew up in. He is the party. His approach is deeply informed with his history in Baltimore, a city with its own vibrant music scene that always taken a different tack than the rest of the major American undergrounds. House, techno, hip-hop, jazz (and of course Baltimore club), there have never been any boundaries for as long as Clayton has been DJing, which makes his DJ sets as musically adventurous as they are technical. This hour-long set is a neatly-packaged example of his genius, leaning on the jazzier side of his sound, featuring plenty of Atjazz records, his own wide-ranging material and killer edits of Rihanna and Kendrick Lamar.

In this episode @DJDrewPierce, and @Fuseamania sit down with the legend that is @DaveAude. We chat a little about his beginnings, and how he is now living and working out of Nashville. We chat about him winning the grammy for his remix of 'Uptown Funk'. We discuss some more of Dave's past work, and he tells us an amazing story about working with Yoko Ono. We also chat about his first ever solo album that dropped last week called 'Motions' that is leading with a single thats a rework of the classic Alanis Morissette track 'Uninvited'. But Dave's version features vocals from the legendary LeAnn Rimes, and a funky new house groove! Be sure to check this episode out! As always please, subscribe, rate, review, like, and follow! Dave Aude: https://daveaude.com/ https://soundcloud.com/daveaude https://www.instagram.com/daveaude/ https://open.spotify.com/artist/1vWImodgVqIgTUkekGEfR9?si=1vNrwsa6Sge_59YA8GS0iA Use Coupon Code “DrewAndFuseShow' at www.directmusicservice.com for 30% off your first month. If you are in the market for a photo booth help support the show by using our salsa booth link below: https://glnk.io/5w24l/drew-pierce

Welcome back, dusty listeners! Here to help you with re-entry and warm you up for the weekend is @Solkist! This set is slappin', slammin', shakin', and sunny af. If you were out there in the desert, we hope your re-entry is gentle. If not, we hope you enjoyed your access to running water. Whether you're looking to continue the magic or capture some because you couldn't go, we invite you to join us for DUST BUNNIES next week featuring many of your favorite Cowboys and our friends Disco Donutz and Heavy Petting Zoo: https://www.facebook.com/events/1016675229043897 About Solkist: Solkist, a world traveling electronic ace, guarantees an energetic dance party. Considered to be a “music mixologist,” she has sounds for everyone to jam out to. With her sneaky ninja-beats, bass'd up remixes, and funky jams, Solkist weaves wildly flavorful ear candy. This female DJ has a huge stage presence and even bigger anthems that crowds and clubs get electrified by. You're sure to enjoy the bouncing jams that Solkist delivers. She first fell in love with electronic music in 1995 and began her international house and trance collection. Traveling across the globe to pick up the latest and greatest live sets, Solkist soon had an incredible library of rare and treasured tunes. In 2001 she played her first vinyl set, and by 2010 she had her first CDJs. Her djing career took off from there playing at local Santa Cruz clubs, Monarch SF, Burning Man, Festivals across California, and clubs in Mexico. She's played with many sound camps on the On/Off the playa including Camp Questionmark and Airpusher, Duck Pond, and Ali Bar Bar. Solkist has opened for Dirtybird Resident J.Phlip, Fort Knox Five, and Tronik Youth, amongst other heavy hitters. She has written and produced deep house songs as well. Solkist's unique flavor bridges the delicious sounds of bass imulsified melodic house, with a kickin' 4-on-the-floor beat, and instrumental audio for an explosive full-spectral experience! More from Solkist: Soundcloud: soundcloud.com/solkist Facebook: facebook.com/scdjsessions Twitch: twitch.tv/scdjsessions scdjsessions.com

Wes Pentz, aka Diplo, is a musician and DJ from Florida, currently living in Los Angeles. We chat about And Just Like That getting renewed for a second season, how much your business manager should be skimming off the top, why Diplo needs 8 CDJs, living shirtless, the only reason he did this podcast was that the waves were sketchy today, rappers are upset with the Postmates options in Malibu, going on the carnivore diet after Rick Rubin told him to, moving into Kid Rock's old house, why the industry is different in Nashville, ALBUM albums don't exist anymore, how the music biz figured out how to make a shitload of money again, the steady growth of Diplo vs. the early peak of Major Lazer, how he slowly took over Las Vegas, day parties vs. night parties, building with Kraftwerk, hanging with Rocky in China, and what happened to his pants after smoking 5-MeO-DMT. instagram.com/diplo twitter.com/donetodeath twitter.com/themjeans --- Support this podcast: https://anchor.fm/howlonggone/support