Podcasts about Resident Advisor

"Music kept me sane." The hard techno breakout opens up about how life's greatest challenges have made her headstrong. To honour Mental Health Awareness week, the RA Exchange sits down with hard techno DJ Lee Ann Roberts, who opens up about her tough childhood in Durban, South Africa, and how music saved her life. While to some it may appear that Roberts broke through only a few years ago, she's been hard at work for much longer, starting out in South Africa's fashion scene before moving to Los Angeles and finally committing herself to pursuing a career as a DJ and producer. She speaks candidly about her abusive household and the limited opportunities for self-expression and creativity she had as a child. As a result, she's become headstrong; nothing has stopped Roberts from being herself and chasing her dreams, and she talks about how self-care, self-compassion, authenticity and a sense of humour have gotten her through some of the darkest periods of her life. As a member of the contemporary hard techno scene, Roberts also shares her reaction to the recent Resident Advisor feature on the movement and the underpinnings of a trend that has polarised the underground. Listen to the episode in full. -Chloe Lula

Tony Price a Toronto based producer and DJ, his latest album 'Street Theatre' was released earlier this month on Maximum Exposure. On Saturday April 26, Tony was DJing at local hotspot Juice when an angry neighbour stormed into the club and demanded he cut the music. The whole interaction was recorded and ended up on Resident Advisor the following day. Tony stopped by our new studio to tell us the whole story. We also discuss touring with Marie Davidson, how he accidentally recorded the interaction at Juice, macho men, noise complaints, nightlife boundaries in Toronto, special events permits, DJing as work, the nightlife economy, The Brunswick House in the 90s, Juicefest, the club as a meeting place for artists, Toronto pretending to be a 'music city', Athens Greece, 'Gench Coffee', the Loukoumades from Athens on the Danforth, E-bikes, city life as a dance, calling himself a metropolitan elitist, his comment on our AI post, drum machines stealing jobs, person style, Gesaffelstein turning into a statue and more!Tony PriceJosh McIntyreNick Marian----COLD PODsign up below to access all episodeshttps://www.patreon.com/coldpod

"It was so difficult to become someone." The house hero talks about Chicago's competitive scene, developing a sound and letting go of his ego. Theo Parrish is one of dance music's most influential DJs and producers. Raised in Chicago, he's become synonymous with slow-burning, immersive grooves and sets that mix classics with obscurities. He began DJing in 1986 aged 13, eventually earning a degree in sculpture and moving to Detroit, where he hit his stride as an artist and became a member of the collective Three Chairs alongside Moodymann, Rick Wilhite and Marcellus Pittman. He also started the label Sound Signature, which uses the language of soul, jazz, disco, Chicago house and Detroit techno. A few months ago, Resident Advisor teamed up with London institution fabric to host Parrish for an eight-hour set—his first time playing the club. While he was in town, he also spoke with CDR's Tony Nwachukwu. In the Exchange, Parrish talks about the intensely competitive scene he grew up in. He DJ'd for 13 years before he was ever paid or had his name billed on a lineup. It took years of passion and hard work to break out of his local scene and build the career he's become known for. "At five years, you're dealing with the technical part [of DJing], at ten it's finding your sound and at 15 it's dealing with the ego of it all," he says. "It's not until much later that you actually start to play for and with people." Parrish also reflects on the ongoing dearth of diversity in the dance music industry and posits whether some of the most popular music in the US—such as trap—reinforces counterproductive racial stereotypes. He asks: did house music ultimately survive because it left where it originally came from? Listen to the episode in full. -Chloe Lula

"It was so difficult to become someone." The house hero talks about Chicago's competitive scene, developing a sound and letting go of his ego. Theo Parrish is one of dance music's most influential DJs and producers. Raised in Chicago, he's become synonymous with slow-burning, immersive grooves and sets that mix classics with obscurities. He began DJing in 1986 aged 13, eventually earning a degree in sculpture and moving to Detroit, where he hit his stride as an artist and became a member of the collective Three Chairs alongside Moodymann, Rick Wilhite and Marcellus Pittman. He also started the label Sound Signature, which uses the language of soul, jazz, disco, Chicago house and Detroit techno. A few months ago, Resident Advisor teamed up with London institution fabric to host Parrish for an eight-hour set—his first time playing the club. While he was in town, he also spoke with CDR's Tony Nwachukwu. In the Exchange, Parrish talks about the intensely competitive scene he grew up in. He DJ'd for 13 years before he was ever paid or had his name billed on a lineup. It took years of passion and hard work to break out of his local scene and build the career he's become known for. "At five years, you're dealing with the technical part [of DJing], at ten it's finding your sound and at 15 it's dealing with the ego of it all," he says. "It's not until much later that you actually start to play for and with people." Parrish also reflects on the ongoing dearth of diversity in the dance music industry and posits whether some of the most popular music in the US—such as trap—reinforces counterproductive racial stereotypes. He asks: did house music ultimately survive because it left where it originally came from? Listen to the episode in full. -Chloe Lula

FRSCKO WORLD RADIO #45 Mixed by MIKE. D (Juárez, MX | Vatos Locos / Losh)TRACKLIST Coming soon

In this episode of In Conversation With, I sit down with Mike Dixon, the founder of Flow, one of the most exciting underground electronic music events in the North East based in Gateshead.We dive into:The roots of Flow and how the idea came to life.Mike's mission to create a deeper, more intentional music space for melodic techno, progressive house, and underground sounds.The importance of community, connection, and vibe over hype.Where Flow is heading in 2025, including a summer party at Hidden Heights Creative Studio and a growing lineup of carefully curated nights that celebrate quality over quantity.If you're into intimate gatherings of like minded people, proper atmospheric music and musical journeys that move you – this one's for you.More info on FLOW:Upcoming EventFlow (Summer Party)Date: Saturday, June 28, 2025Location: Hidden Heights Creative Studio, Arch 4 Hymers Court, Brandling Street, Gateshead, NE8 2BALine-Up: Naughty Bear, Emma Harbs, Mark Bone & Ian Cowley - Headliner TBATickets: Available on Resident Advisor https://ra.co/events/2147680Flow (Autumn Party)Date: Saturday, October 11, 2025Location: Hidden Heights Creative StudioDetails: This event featured a lineup of underground electronic music artists. ​Past EventsFlow (Autumn Party)Date: Saturday, September 28, 2024Location: Hidden Heights Creative StudioHeadliner: Emma VibesSupporting Acts: Naughty Bear, SEIZMIC, the.CHAIN, KrishGenres: Melodic Techno, Progressive House, TechnoTickets: Early Bird and First Release tickets sold out; Final Release selling fast ​These events are organized by Flow.ncl and are known for their intimate atmosphere and focus on underground electronic music. If you're interested in attending the upcoming summer party, it's advisable to secure your tickets soon, as previous events have sold out quickly.​

Alvin and German conduct a great conversation with Professional Development Quality Assurance Manager at New York Works for Children, Tinnycua Williams, '94. A passionate advocate for strength-based programming, Tinnycua is dedicated to empowering children, families, and the professionals who serve them. In her role, she collaborates with city and state licensing agencies, professional organizations, and training providers to elevate high-quality professional development across the early childhood field. She is also an active leader within the National Workforce Registry Alliance (NWRA), where she co-chairs the Professional Development Committee. With more than 20 years of experience, she has provided direct support to children and families while holding leadership roles at organizations such as Homes for the Homeless, Samuel Field YM & YWHA, and Harlem Children's Zone. At Colgate, she was President of the African American Student Alliance, Resident Advisor of the Harlem Renaissance Center (HRC), campus tour guide, and a member of Konosioni, Colgate's senior honor society. She is currently pursuing a Master's Degree in Early Childhood Education (0–8) at City College of the City University of New York and holds a Bachelor of Arts from Colgate University.

Après leurs tournées mondiales, les pionniers de la musique électronique, Kraftwerk, annoncent un concert exceptionnel et complètement nouveau en plein air le 14 août 2025 sur la Place des Palais à Bruxelles. Radiohead s'apprête à signer son grand retour, selon Resident Advisor, la direction du groupe aurait discrètement confirmé une tournée pour cette année à venir. Le chanteur britannique Ed Sheeran a offert à ses fans un moment festif à l'occasion de la Saint-Patrick à Boston. Installée à Londres depuis 2019, la chanteuse et ancienne leader du groupe Hole, Courtney Love, a officiellement annoncé avoir entamé les démarches pour devenir citoyenne britannique. Mots-Clés : événement, expérience audiovisuelle immersive, cœur, futur, art, tickets, indice, vente aux enchères caritative, lycée Palisades, Los Angeles, profit, sinistré, incendie, lots, promesse, billets, choix", offert, Blueyed Pictures, société de management, détail, description, lot, gagnant, source, proche, média, option, réservation, villes européennes, résidence, automne, communauté irlandaise, surprise, Dubliner, pub local, ambiance conviviale, maillot, Boston Celtics, folk, Beoga, Galway Girl, format, acoustique, intimiste, ode, Irlande, foule, nouvelle, conversation publique, auteur-compositeur, Todd Almond, événement reprise, classique, Like a Rolling Stone, Bob Dylan, naturalisation, geste politique, artiste, critique, administration, Trump. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankxDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Arielle Lana LeJarde is a journalist, DJ, and creative based in NYC. Arielle founded the live event series, Heads Know, an independent party and platform dedicated to music history, local scenes, and the underground.Arielle is big on Twitter, going viral constantly with the takes. Recent ones have been on the state of the club world. If you want controversies, conspiracies and a good laugh go give Arielle a follow.Arielle has written for MixMag, DJ Mag, Rolling Stone, Resident Advisor, Clash Magazine, Brooklyn Magazine, The Fader and Genius. Arielle is a genius.Please welcome Arielle Lana LeJarde to Wear Many Hats.⁠⁠instagram.com/aariellenyc⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/wearmanyhatswmh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/rashadrastam⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rashadrastam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wearmanyhats.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

The famed electro house duo open up about their 2024 album and the challenges of touring live. In the mid-'00s, songs like "D.A.N.C.E." and "We Are Your Friends" emerged as stadium-sized anthems during a new wave of electro house that weaved in elements of rock and disco. The architects behind these hits were Parisian duo Justice, AKA Gaspard Augé and Xavier de Rosnay. Together with their Ed Banger contemporaries, they rode a craze that took over airwaves and dance floors, alongside peers like label founder Busy P and the late DJ Mehdi. Their first album, Cross, quickly became a classic, helping to establish Ed Banger as the flagbearer for French electro. Justice went on to tour a dynamic live show with spectacular lights and visuals, and later released two more albums before taking an eight-year hiatus and largely disappearing from the spotlight. Last year, Augé and de Rosnay returned with their fourth studio album, Hyperdrama, which features a GRAMMY-winning collaboration with Tame Impala. Referencing indie rock and early '90s hardcore techno, the LP sparked a revived interest in the duo—if you watched last year's Olympics in Paris, 18 minutes of their music featured in the closing ceremony. In this RA Exchange, Augé and de Rosnay talk to Resident Advisor's editor, Gabriel Szatan, about being back on the road and balancing touring with family life, a rhythm that hasn't felt natural to them after so much time off. They open up about dealing with technical issues and making mistakes when performing, despite having played countless iterations of their live shows. The conversation also touches on their earliest influences—like gaming culture and bands including the White Stripes, and how they've cultivated such a dedicated international fanbase. This episode was recorded over the course of multiple backstage conversations. Listen to the episode in full. -Chloe Lula

The famed electro house duo open up about their 2024 album and the challenges of touring live. In the mid-'00s, songs like "D.A.N.C.E." and "We Are Your Friends" emerged as stadium-sized anthems during a new wave of electro house that weaved in elements of rock and disco. The architects behind these hits were Parisian duo Justice, AKA Gaspard Augé and Xavier de Rosnay. Together with their Ed Banger contemporaries, they rode a craze that took over airwaves and dance floors, alongside peers like label founder Busy P and the late DJ Mehdi. Their first album, Cross, quickly became a classic, helping to establish Ed Banger as the flagbearer for French electro. Justice went on to tour a dynamic live show with spectacular lights and visuals, and later released two more albums before taking an eight-year hiatus and largely disappearing from the spotlight. Last year, Augé and de Rosnay returned with their fourth studio album, Hyperdrama, which features a GRAMMY-winning collaboration with Tame Impala. Referencing indie rock and early '90s hardcore techno, the LP sparked a revived interest in the duo—if you watched last year's Olympics in Paris, 18 minutes of their music featured in the closing ceremony. In this RA Exchange, Augé and de Rosnay talk to Resident Advisor's editor, Gabriel Szatan, about being back on the road and balancing touring with family life, a rhythm that hasn't felt natural to them after so much time off. They open up about dealing with technical issues and making mistakes when performing, despite having played countless iterations of their live shows. The conversation also touches on their earliest influences—like gaming culture and bands including the White Stripes, and how they've cultivated such a dedicated international fanbase. This episode was recorded over the course of multiple backstage conversations. Listen to the episode in full. -Chloe Lula

Give it up for our next SPND20 Mixtape guest: @steya_music!

Chloe Lula is a resident DJ and releasing artist at Tresor. She's played at Berghain, Boiler Room, Radion, Movement weekend in Detroit, and countless clubs, festivals and parties across Asia, Europe, and, North and South America. Chloe has released on Tresor Records, Blueprint Falling Ethics. In addition to her career as a DJ and producer, Chloe is a cellist—her debut instrumental full-length was released in November 2024—and Chloe is also the senior producer of Resident Advisor, where she hosts and curates talks and music workshops at festivals like Nuits Sonores, Dekmantel, Unsound, Wire, and many more. Follow https://soundcloud.com/chlo-lula https://www.instagram.com/chloe.lula/ https://www.facebook.com/chlolula/

Resident Advisor is wrapping up 2024 with an episode dedicated solely to vinyl culture, from dubplate production to record store culture, all-vinyl DJing and running labels that release records. In the first part of this episode, which was recorded live at Wire Festival, panelists and vinyl DJs Mary Yuzovskaya, Clarisa Kimskii and Devoye Folkes discuss the benefits and drawbacks of playing records in the digital era with RA editor Gabriel Szatan. According to the panelists, playing vinyl could be seen as a skill analogous to driving stick shift: while it's not always necessary, it gives new artists a better understanding of a DJ set's underlying machinery. They also talk about how a DJ's identity used to be intertwined with their personal collection of records, and how the digital paradigm shift presents today's DJs with infinite choices. The Exchange's second half takes listeners behind the scenes, investigating the challenges and opportunities inherent in running a business based on vinyl sales. Live from Wall to Wall Festival at RSO, HHV Records, Bandcamp Berlin, Objects Manufacturing and Elevate Record Store speak to the overhead investment, production time and ecological considerations they take into account in their day-to-day operations. They also shed light on the statistics behind the enormous sales of vinyl records in the past few years and the breakdown of which artists are making money from digital versus physical music sales and why. Listen to the episode in full.

The trio behind our party of the year discuss creating space for the FLINTA community, their most outrageous live performances and more. Resident Advisor is wrapping up the year, and alongside our best-of-2024 records and tracks lists comes our favourite party: Barcelona-based platform MARICAS. The self-described "loving and pervy LGBTQIA+ techno collective" started in 2018 when ISAbella, Eloisa Blitzer and graphic designer Gina Guasch decided it was time to create a fun space for queer women and nonbinary people in their city. Since then, MARICAS has become a celebrated international series, revealing in its ascent how much of the techno scene—even in its queerest corners—continues to cater to men. In this RA Exchange, the trio talk about their humble origins as well as the ongoing obstacles they face in promoting the party in the face of discrimination. Performance plays an important role in their events, and they take an entertaining trip down memory lane, discussing some of the most outlandish theatrics and installations that have made it onto their dance floors: a Catholic confessional booth where the priest gave kisses, a livestreamed toilet stall where people undressed in front of the camera and a make-out session from figures covered in paint. Underneath the showmanship, however, is an unwritten code of respect and acceptance that extends far beyond the rave—their mission is to transform the social taboo surrounding difference into a positive force in our world. Listen to the episode in full.

The trio behind our party of the year discuss creating space for the FLINTA community, their most outrageous live performances and more. Resident Advisor is wrapping up the year, and alongside our best-of-2024 records and tracks lists comes our favourite party: Barcelona-based platform MARICAS. The self-described "loving and pervy LGBTQIA+ techno collective" started in 2018 when ISAbella, Eloisa Blitzer and graphic designer Gina Guasch decided it was time to create a fun space for queer women and nonbinary people in their city. Since then, MARICAS has become a celebrated international series, revealing in its ascent how much of the techno scene—even in its queerest corners—continues to cater to men. In this RA Exchange, the trio talk about their humble origins as well as the ongoing obstacles they face in promoting the party in the face of discrimination. Performance plays an important role in their events, and they take an entertaining trip down memory lane, discussing some of the most outlandish theatrics and installations that have made it onto their dance floors: a Catholic confessional booth where the priest gave kisses, a livestreamed toilet stall where people undressed in front of the camera and a make-out session from figures covered in paint. Underneath the showmanship, however, is an unwritten code of respect and acceptance that extends far beyond the rave—their mission is to transform the social taboo surrounding difference into a positive force in our world. Listen to the episode in full.

Lunes 18 de Noviembre de 2024 Ya esta disponible MEDELLIN TECHNO PODCAST 242 Presentado por DERAOUT Invitado: Ali Az Soundcloud: https://soundcloud.com/aliazdj Instagram: https://www.instagram.com/aliazdj/ Resident Advisor: https://es.ra.co/dj/ali-az Info Deraout: www.deraout.com _____ Design: www.boldbravestudio.com __ #medellintechnopodcast #medellin #techno #podcast #djset #deraout #aliaz #plusone #madridtechno

Luke Hess – Detroit, MI USA [DeepLabs / Rekids / Dolly / FXHE / Planet-e / Echocord] Born in 1980 and raised in the Detroit area, Luke Hess has harnessed a deep appreciation for electronic music and the expression of the underground movement. His background in mathematics and engineering has given him a scientific approach to the dance floor, using frequencies, tones, and soundscapes to transform surroundings and mood. His faith based music production has landed him numerous vinyl releases (EP's, LP's, and remixes) on labels like Planet-e, Rekids, FXHE, Echocord, Kontra-Musik, Dolly, Finale Sessions, Ornaments, and Prime Numbers among others. His debut album was released in early May 2009 by Denmark based label Echocord. In 2010 he began his own interpretation of Detroit techno with his Detroit project and record label - DeepLabs. His sophomore album “Keep On” was released on FXHE records in 2012 and received a Recommended 4.5/5 rating on Resident Advisor. With 20 years of DJ experience, he is regarded as a perfectionist behind the decks layering his tracks in a very detailed and hypnotic manner. Luke has played at many notable venues and festivals in Europe, Asia, Australia, and North America including numerous appearances at the illustrious Berghain/Panoramabar in Berlin. Luke's continued hard work in the studio and as a music collector/curator combined with his unyielding interest in technology and sound will no doubt stimulate the boundaries of electronic music. 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

"There are so many different takes on reggaeton." The Latine supergroup discusses dembow, Afro-Caribbean music and more in this Playing Favourites live from C2C Festival. This week's RA Exchange revisits one of Resident Advisor's flagship live formats, Playing Favourites, where we bring guests onto the pod to walk through their musical influences and play us some tracks that have been formative in their personal and creative development. This week, we're honouring El Dia de la Raza—which happened on October 12th—an occasion that remembers the colonisation of Latin America and pays tribute to its heritage and cultural diversity. Our guest is Sangre Nueva, a trio made up of the artists DJ Python, Florentino and Kelman Duran. They all come from different backgrounds: Kelman is a Dominican multidisciplinary artist, Florentino is a musician of Colombian heritage signed to XL Recordings and DJ Python is Ecuadorian-Argentinian, releasing prolifically under a number of aliases in the worlds of ambient and club-adjacent music. Together, their style explores pan-Caribbean musical styles, especially dembow, which is experiencing a parallel renaissance in the underground and commercial dance music spheres. In this conversation, they talk to journalist Christine Kakaire from last year's C2C Festival about what it means to approach Latin music from an experimental perspective to bring an amalgamation of Caribbean and Spanish-speaking musical cultures into their work. They also reflect on the stigma that was attached to reggaeton for a long time and the songs that represent its reclamation in the world of contemporary club music culture. Listen to the episode in full.

Are you aware of the harmful impact workplace stress can have on our well-being? Tune in for an inspiring discussion with Dr. Melvin Mahone on his #book Coping with Stress and Building Leadership: One Man's Journey.  Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio affiliate! Melvin Mahone, PhD, is a full-time Assistant Sociology Professor, at Paine College in Augusta, Georgia. He graduated with a Ph.D. in Criminal Justice with a Special Emphasis in Corrections at Union Institute and University, in Cincinnati in 2002.  Dr. Mahone started working in criminal justice in 1972, as a Federal Protective Officer for GSA. Dr. Mahone was employed for the Bureau of Prisons as a Correctional Officer and Correctional Treatment Specialist. He then went on to become a Florida State Probation and Parole Officer in 1982. After that he worked briefly as a Illinois State Parole Agent. He started working as an Investigator for a private law firm as a Process Server. After that he was employed as a Mental Health Worker, and as a Drug Counselor. He then went on to be employed as a Social Services Career Trainee for the state of Illinois. He was a Resident Advisor briefly. https://doctormahone.comFor more show information visit: www.MariannePestana.com#book #bookclub #stress #backtheblue #police #leadership #bookclub 

Chicago house pioneer Vince Lawrence and law professor Dr. Olufunmilayo Arewa unpack how record companies have undermined Black musicians—and what we can do to enact change. This past week, Resident Advisor screened and distributed a new, award-winning documentary called Taking Back the Groove. It tells the story of Bronx-born disco legend Richie Weeks, whose song "Rock Your World" with Weeks & Co. climbed to #1 on the dance charts in the '80s. Like many Black artists throughout American recording history, his talent was strip-mined to enrich corporate record labels. In the film, Weeks and Still Music label owner Jerome Derradji narrate the story of how they clawed back the rights to Weeks's tracks, as well as the ongoing battle he's had to wage to restore his legacy and ownership over his creative work. This story is, sadly, perennial, especially for artists of colour and otherwise marginalised musicians who continue to be sidelined by major players in the music industry. In this RA Exchange, Vince Lawrence—a Chicago-based house producer and the original founder of Trax Records—speaks with Washington DC-based guest Dr. Funmi Arewa, a graduate of Harvard Law School and UC Berkeley, and a current professor at George Mason University, where she teaches business law in the creative industries. The two engage in a fascinating discussion about the history of the recording industry and the exploitation of marginalised artists that runs through its fabric. How do we make it easier for artists to claim things that are rightfully theirs? What if we could create incentives to create fairness at the core of how record labels function? Listen to their thoughts on these questions in the full episode.

House music pioneer Vince Lawrence and law professor Dr. Olufunmilayo Arewa unpack how record companies have undermined Black musicians—and what we can do to enact change. This past week, Resident Advisor screened and distributed a new, award-winning documentary called Taking Back the Groove. It tells the story of Bronx-born disco legend Richie Weeks, whose song "Rock Your World" with Weeks & Co. climbed to #1 on the dance charts in the 1980s. Like many Black artists throughout American recording history, his talent was strip-mined to enrich corporate record labels. In the movie, Weeks and Still Music label owner Jerome Derradji narrate the story of how they clawed back the rights to Weeks' tracks, as well as the ongoing battle he's had to wage to restore his legacy and ownership over his creative work. This story is, sadly, perennial, especially for artists of colour and otherwise marginalised musicians who continue to be sidelined by major players in the music industry. In this RA Exchange, Vince Lawrence—a Chicago-based house music producer and original founder of Trax Records—speaks with Washington DC-based guest Dr. Funmi Arewa, a graduate of Harvard Law School and UC Berkeley, and a current professor at George Mason University, where she teaches business law in the creative industries. The two engage in a fascinating discussion about the history of the recording industry and the exploitation of marginalised artists that runs through its fabric. How do we make it easier for artists to claim things that are rightfully theirs? What if we could create incentives to create fairness at the core of how record labels function? Listen to their thoughts on these questions in the full episode.

Lunes 23 de Septiembre de 2024 Ya esta disponible MEDELLIN TECHNO PODCAST 234 Presentado por DERAOUT Invitado: Jon Hester Soundcloud: https://soundcloud.com/jon_hester
 Website: http://jon-hester.com Instagram: https://www.instagram.com/jon_hester__/ Facebook: https://www.facebook.com/jonhesterpage
 Resident Advisor: https://www.ra.co/dj/jonhester/ _____ Design: www.boldbravestudio.com __ #medellintechnopodcast #medellin #techno #podcast #djset #deraout #jonhester #rekids #klockworks #berlintechno #chicagotechno #minneapolistechno #tresor

What is our relationship to the land, to its other-than-human inhabitants, and to the rest of humanity? These are fundamental questions for thinking through how we can transform ourselves in ways that allow a multiplicity of ecologies and human communities to thrive alongside one another. And these questions are not just fundamental to us as individuals—they are essential to how we view our cultures, traditions, institutions, and ways of knowing.Layel Camargo lives at the vibrant intersection of ecological justice, queer liberation, and indigenous culture—a cultural space that offers a distinctive vantage point on how our societies work, while holding enormous potential to both see and reorient our relationships to the land and to one another.Layel Camargo is an organizer and artist who advocates for the better health of the planet and its people by restoring land, healing communities, and promoting low-waste and low-impact lifestyles. Layel is a transgender and gender non-conforming person who is an indigenous descendant of the Yaqui and Mayo tribes of the Sonoran Desert.I met Layel at a climate storytelling retreat in New York City in 2019, where I became a huge fan of their work and of their way of being in the world.Layel is a founder of the Shelterwood Collective, a Black, Indigenous, and LGBTQ-led community forest and retreat center, healing people and ecosystems through active stewardship and community engagement.Our conversation explores the idea of culture as strategy in confronting the climate crisis, diving into Layel's work in video, podcasting, and poetry and the origins of their approach to this work of healing people and planet.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Layel CamargoLayel Camargo is a cultural strategist, land steward, filmmaker, artist, and a descendant of the Yaqui tribe and Mayo tribes of the Sonoran Desert. Layel is also transgender and non-binary. They graduated from UC Santa Cruz with dual degrees in Feminist Studies and Legal Studies. Layel was the Impact Producer for “The North Pole Show” Season Two. They currently produce and host ‘Did We Go Too Far' in conjunction with Movement Generation. Alongside Favianna Rodriguez and at the Center for Cultural Power, they created ‘Climate Woke,' a national campaign to center BIPOC voices in climate justice. Wanting to shape a new world, they co-founded ‘Shelterwood Collective'. The collective is a land-based organization that teaches land stewardship, fosters inventive ideation, and encourages healing for long-term survival. Layel was a Transformative Justice practitioner for 6 years and still looks to achieve change to the carceral system in all of their work. Most recently, Layel was named on the Grist 2020 Fixers List, and named in the 2019 Yerba Buena Center of the Arts list of ‘People to Watch Out For.'Quotation Read by Layel Camargo“You wanna fly, you got to give up the s**t that weighs you down.” - Toni Morrison, Song of SolomonRecommended Readings & MediaTranscriptIntroJohn Fiege  What is our relationship to the land, to its other-than-human inhabitants, and to the rest of humanity? These are fundamental questions for thinking through how we can transform ourselves in ways that allow a multiplicity of ecologies and human communities to thrive alongside one another. And these questions are not just fundamental to us as individuals—they are essential to how we view our cultures, traditions, institutions, and ways of knowing.Layel Camargo lives at the vibrant intersection of ecological justice, queer liberation, and indigenous culture—a cultural space that offers a distinctive vantage point on how our societies work while holding enormous potential to both see and reorient our relationships to the land and to one another.And besides that, Layel is hilarious.Layel Camargo My passion for humor has come from has been maintained by a lot of data and information that I've gotten around just the importance of people being able to process things through laughter. And that the climate crisis is nothing to make mockery and or to laugh, there's this is very serious. The ways in which our species is kind of being at threat of extinction, and right before our eyes. But I think that as humans, we're so complex and layered, and we're so beautiful in the sense that we get to feel so intensely, and feeling is what motivates us to take action. And laughter helps you process so much data quicker, it helps you be able to take something in, embrace it, release, and then have it make an impression.John Fiege  I'm John Fiege, and this is Chrysalis.Layel Camargo is an organizer and artist who advocates for the better health of the planet and its people by restoring land, healing communities, and promoting low-waste, low-impact lifestyles. Layel is a transgender and gender non-conforming person who is an indigenous descendant of the Yaqui and Mayo tribes of the Sonoran Desert.I met Layel at a climate storytelling retreat in New York City in 2019, where I became a huge fan of their work and of their way of being in the world.Layel is a founder of the Shelterwood Collective, a Black, Indigenous, and LGBTQ-led community forest and retreat center, healing people and ecosystems through active stewardship and community engagement.Our conversation explores the idea of culture as strategy in confronting the climate crisis, diving into Layel's work in video, podcasting, and poetry and the origins of their approach to this work of healing people and planet.Here is Layel Camargo.ConversationJohn FiegeHow you doing?Layel Camargo I'm doing pretty good. How are you doing?John Fiege I'm doing well. I've got this thing in my throat. I, so I'm going to be drinking a lot of tea. And I might have to have a bathroom break. Know, I have forgotten to take my allergy medicine. And here we are. Great. Yeah. So can you start out by telling me where you grew up? And how you viewed your relationship to the rest of nature when you were a kid?Layel Camargo Yeah. Um, I can start off by Yeah. talking a little bit about where I grew up. Yeah, so I grew up on the Mexican border between Tijuana and San Diego. And my upbringing was in this very highly dense migrant community from Latinx to Philippines, because of the proximity to the military base. It was very military towns, pretty much the professions. They're like you're either work for Homeland Security, the military or police. And I didn't really notice what my upbringing was like till I left. But I grew up crossing the border back and forth. My grandmother migrated from the Sonoran Desert, to Tijuana. And that's basically where my mother was born. And she grew. She went to high school in San Diego, which is why I can say I'm an American citizen, but I'm a descendant of the Maya or the uremic tribes, my grandmother said, and then my grandfather said, The yucky tribes of the Sonoran Desert so I think for me, my connection ecologically was like the ocean Because I grew up in a beach city, and then it was also the desert, because of all the stories and my grandmother's connection to sanada. So high, I never felt like I was at home because as a queer person paid never really fit into the conservative nature of San Diego due to how militarized it is, and all this stuff. But it was through a drive, which I took from Northern California, down to Sonora, where my grandmother's family lives, when I drove through the saguaros and Arizona that I remember seeing the Saguaro forests and just like needing to pull over and just like, take them in. And I had this a visceral feeling that I don't think I've ever had before of just like being home. And I think this, this experience was like in 2016 2017. And that's when I realized that, in theory, I was a climate activist, I cared about the planet. But it wasn't until that moment that I was like, oh, what I'm actually doing is like actually fighting for us to return to be in better relationship with the planet. And this is where I belong, this is my source of my route, these trees and this desert. So because of that, and growing up in proximity to the beach, water conservation has always been an area of like passion for me and caring about the ocean, which pushed me to a practice of lowering my plastic consumption and being more mindful of oil consumption. And the desert has always been a source of like grounding in regards to like place and knowing that I come from the earth. So it's kind of like I was gonna say, it's kind of like, I'm from a lot of places, I moved to Northern California in 2006. So I love the forest. But nothing speaks to my heart, like the beach in the desert.John Fiege Well, they have sand in common. Is there? Is there a tension between the ocean pulling you in the desert pulling you or is it? Is it a beautiful harmony?Layel Camargo It's a bit of a tension. But I would say that in my body, it feels the same. They both dehydrate me and over, over like it's just a lot of heat, typically. So yeah, that it's different for Northern California beaches, because they're a little bit more Rocky and more cold. You have to wear more layers. Right? definitely like to where I grew up, it's it is warm, the sandy ness. That's a great connection, I definitely need to make that a little bit more concrete.TotallyJohn Fiege cool. Well, can you tell me more about the path you took from the neighborhood where you grew up in San Diego, to studying at UC Santa Cruz and what that experience was like for you?Layel Camargo Yeah, I, I went. So I grew up in a home where there was a lot of violence, which is very common in a lot of migrant-specific and indigenous communities. And I kind of came into my teenage years, like really realizing that I was different, but I didn't know how when it kind of got summarized in college around my queerness my sexuality and my gender, but just feeling this need of like needing to leave. It just didn't make sense for me to be there. And with that being said, I had a wonderful community. I still have quite a few friends in San Diego that I keep in touch with my sisters live there. And I was actually just started last weekend. So I, when I was in San Diego, I think a lot of my trauma responses of like, just ignore what doesn't make sense and just keep moving forward was how I kind of functioned. And that race. And I loved it, I succeeded at it. I've actually realized that I'm a performance artist because of that upbringing. Like I, you know, was captain of the water polo team. I was president of my senior class, I was featured in newspapers for my swimming. I was a competitive swimmer for 10 years. I I did, I did a you know, a good job. I had advanced placement classes and honors classes and I was well rounded but in the inside, I just didn't feel like I belonged. So I picked UC Santa Cruz to go to college because it was the farthest University and the University of California system that had accepted me. And they went and I didn't know what I was getting myself into. I visited the campus like two to three weeks before I had to actually be there to live on campus. Bass. And when my dad drove me, drove me up with my whole family drove me up and they left me they were like, are you sure you want to say I'm like, I got this, like, it was all redwoods. So it was definitely like, we went down to the local store. And it was like all these like hippie dreadlock, folks. And I was like, I don't even know what I got myself into. But I'm getting this degree, so we're good. And it was a big culture shock, I think for a lot of black and brown and indigenous youth when they have to leave their communities to attend. What is like better economic opportunities outside of them it is it's, it's more than just having to adjust, it's having to really like, Oh, I had to let go of everything I knew. And in order for me to take the most out of college, and I was fortunate enough that I had a container a university is like a container for young folks that I wasn't having to leave for work or opportunities. And so I fully immersed myself, and it allowed me to be able to identify myself sexually and through my gender, and a gave me solace, when you know, my family rejected me for coming out. And I think that I'm so fortunate that I had that experience. And then I also was able to gain double bachelor's when feminist studies and legal studies which allowed me to have some upward mobility that my family hadn't had, traditionally I was, I am the first person in my whole family to attend a four year university after high school. So I'm definitely very grateful that that path took me there. And at this point, I feel like it was not only good for me, but it was good for my whole family for me to have taken that journey.John Fiege And did you come out to them? In college or before college?Layel Camargo in college? Yeah, I was my second year, I had my first girlfriend. And I was a Resident Advisor, always I'm always trying to be the overachiever. So I was like Resident Advisor of my college, I was like, involved in every club, I was part of the dance team. And, you know, my mom called me, I just decided to actually move in with my girlfriend the following quarter. And she was like, What are you doing? I was like, Oh, my girlfriend's house. And she was like, why do you have to tell me those things. And I'm just like, because I'm not gonna lie to you. And she was like, I know, you're gay, but I just don't need you to rub it in my face. And I was like, then I guess we can't talk. And so we didn't talk for three months. And then she called me It's, it's, it's hard, you know, like, going to college is hard, especially when I went to very marginalized public schools before that. So I was struggling academically. And my solace was, like, being involved on campus, like to meet some social needs. And I was in, I was in a retention program for black and brown youth from urban communities. So that helped a lot. But I, I, my mom kind of rupturing that, really. I didn't realize what the impact was until probably a quarter the quarter into after that. And she called me three months later, and was like, so are you not gonna talk to me? And I was like, you're the one that doesn't talk to me. And she was like, well, let's just let's just try to make this work. And so we, you know, it took probably five to six years for my family to kind of fully integrate my, you know, my, my lifestyle as they, as they call it. The magic word of magic word. Yeah.John Fiege Yeah, wow. Well, you know, that's just what you need, right in the middle of college trying to adapt to, you know, crazy new culture and world is for your family to reject you.Layel Camargo Yeah, yeah. It's definitely one of those things that like a lot of queer LGBTQ folks. I, I feel like it's so normalized to us, right? And it's just like, well, when you come up, just expect to lose everything. And I think it is it now until I'm like, in my 30s, that I realized how painful that is, and how, like, it's just like, you know, one of the core things I think, as a human species is to know that you belong somewhere. And if you don't belong at home, then where do you belong? And I think for many of us, we've had to go through that unconsciously, without really thinking through that we're seeking to belong. And this theme of belonging has been something that's been coming up as I'm I navigate like, my professional career now is that like, I really do want people to feel like they belong somewhere. And the only thing I feel like makes sense as we all belong to the planet. We all belong to the same descendants and how we got here as a species and that I think that's being rejected from my family allowed me to be like weird do I belong? And so I fortunate that I had a best friend who was also queer. I had my queer community I had student governments and students social organizing. And then when I graduated, I was like, wait, like, Where else do I belong? So I went to my natural habitats like to the beach, and I picked up surfing again and scuba diving. And then it was like, Oh, I actually like I belong to the earth. Like, that's where I belong.John Fiege That's beautiful. Yeah. I love that. Oh, I am hearing some background noise.Layel Camargo Is it audio? Or is it just like,John Fiege people laughing?Layel Camargo It's my partner's on an Akai here, I'm going to shoot her a quick text. She like gets really loud because she gets so excited. Just going to share a quick text.John Fiege So before coming to climate justice work, you worked as an organizer with the Bay Area transformative justice collective. Can you tell me how your work in transformative justice informed your understanding of the climate crisis and how you approach ecological concerns?Layel Camargo Yeah, so I I organized with transformative justice for about six years. And then I you know, for folks who don't know, transformative justice is an alternative response model to violence, harm and hurt. And so similar to restorative justice, which works with the carceral system, so police, judicial systems, etc. to reform in order to help alleviate some of the biases that exists in the systems, transformative justice, as there's those systems actually don't serve certain communities like migrants, folks like that are trans, just the way that those systems just inherently violate certain people who are not included in our society fairly, was like, transparent justice exists to serve folks who cannot access or choose not to access or use the carceral system. So if you will, if you believe in defunding the police, and let's say you're sexually assaulted, you're probably not going to call the police for a rape kit, because there's probably ways that you've experienced those systems as harmful or violent. So when I started organizing were transferred to justice the spoke to me as somebody who had just come out as trans, somebody who grew up in a mixed status family, have relatives who have been deported. And I realized, like, Oh, it's actually worth investing in alternative models, besides the police. In order for us to get our needs met when crisises do happen, because they happen to all of us. And I was in it for six years, you know, we had built up, I had built a great capacity to work with people who had caused harm people who are caused domestic violence, sexual assaults and transforming their behavior and working towards reparation of relationships and or just like helping victims be able to move on after something like that happens. And it's it wasn't an easy task. And what we would come back to is we would spend like the first front of the months, trying to make sure that people's basic needs were met in order for them to slow down enough to process what had just happened. And basic needs included food included shelter, if they lived near, you know, a toxic site, what was infringing on their health, making sure that they had access to health coverage or health benefits. And that was about 60% of what we're doing was making sure that we could get the basics kind of stable so that they could jump into really honoring what it was a justice look like for them. And in doing this a handful of times, not too many, I will say I didn't think thankfully, we had a team. And so I did wasn't always having to handle everything. And we, the experiences that I did have, I was like, man, if people just had, like, a healthy environment where having to fight for housing wasn't a thing. Like we could just actually say, this is where I was born, this is where I belong, and I'm in relationship with the land. And that's how I feed myself, I clothe myself, like all these things that are kind of like indigenous traditional ways, then people could actually solve a lot of their crisis. He's in the moment without having it to be delayed years or having to rely on for it to get outsourced through the carceral system in order for them to feel like they get a minuscule amount of justice. And so I started to just be more cognizant of the way that we interact with the planet and how are everything from our legal structures to our economic structures are just completely devastating. Our environment that have led for us not to have good air quality for us not to have good clean water for us not to feel like we've belong to the earth that is right beneath us that we like, are in relationship with, with the rest of you know, most of our lives. And I, at the time I was living in West Oakland and I had just looked into the air quality report in the area I lived in, and I had the worst air quality in the whole Bay Area. And I started noticing my dog started developing like little spots on her skin, I started having like a lot of chronic coughing. And I was looking at how much money I was making. And so at the time, I was doing a lot of our pop ups, I was really passionate about zero waste, I cared about veganism, a lot of it was through the planet, and it just slowly started shifting away from Yes, I care about how we respond to violence and harm and all of that. And I want us to have alternatives that meet the needs of folks who fall through the waistline of certain systems. And at the same time, we don't even have clean water to come home to to drink when something violent happens, like we have to go buy it from, you know, a grocery store. Most of us don't even test our tap water anymore, because it's just consistently, we just grew up thinking that it doesn't, it's dirty, it's gross, it's non potable, so Right, right. I think at that moment, my heart just completely was like, I want to dive into this work 100% I want to fight for people to have clean air, like if you can't breathe, then you can't, you can't even do a lot, a lot of things. And so many black and brown people who grew up in rural communities have high rates of asthma have like low life expectancy because of air pollution, to you know, the logistics industry etc. And I just kind of fell in with all my heart in like, if I'm, if I'm against plastic put which at the time I was, like vegan for the planet and vegan for my health. And I was also really passionate about reducing plastic use. And I was like, if these are two things that I care about, I want to do it at a larger scale. So it meant that I had to really make those connections of if I want to end gender based violence, if I want to end large forms of violence, I have to start with the one common thing we have that we're constantly extracting and violating, which is the earth. And I think that that led me towards climate justice, because that is the most critical environmental crisis that we're in at this moment.John Fiege So what is the climate crisis? What what what causes is how do you how do you think about culture as a source of power and strategy for climate crisis?Layel Camargo Yeah, I mean, I this is this is really, you know, this, that this is what I do for my life is I spent the last 7 to 8 years really strategizing around what are the cultural shifts that are needed in order for us to be able to be in right relationship with the planet where things like the climate crisis are not happening, so that we can have an economic system and a political system that is serves the planet and the needs of our of us living and thriving, not surviving, which is I think, what we're stuck in as a global society now. And the, we have like quite a few things to kind of look at historically. And I think that there is a dominance of, which is we now know, it is like white supremacy, which is the idea that one group of human is like better than another group of human, and that because of that, everybody else needs to conform to the languages, the culture, the food, the clothes, the housing structures, that are pervasive, and that in, you know, the Euro centric way of living, and that has created a monoculture that is now spread at a global scale. And it's even because it's an economic sister in their economic system. Now we have global stock markets. Now we have the extraction at a global scale, for the sourcing of consumer goods that are all homogenous, and there. There's just one kind of how we do things. And I think the crisis that we're in is the ways that human have removed ourselves from our natural biodiversity relationships with our ecological systems. And then as removing ourselves we have are allowed for the rupture of a relationship that is very needed, which is if we're not integrated into the trees that are natural in our environment into trimming certain invasive species and supporting other biodiverse relationships around us, then we're crippling the ability of the soil to be healthy of the air to have the most amount of oxygen Have you Now we know that we need to be trapping carbon at such high rates. And I think that with a crisis that we're in is that we've allowed and have fallen victims to white supremacy, which was facilitated by colonization, that I, you know, that dominance of one group of people in the way of existing, and I think that's where we're at. I mean, if you look at the kelp forests, the kelp forest needs the otters, they need the, the sea urchins. But when you remove the otters and the sea urchins, you know, are not being preyed upon at a normal scale. And that's, you know, we're connecting it to white supremacy, let's assume that the sea urchins are like the dominant and because they're, they're the ones that ruled the kelp species are starting to be eradicated, and some of them are becoming a threat of extinction. And without a healthy kelp forests, you don't have healthy oxygen and maintenance of the acidification in the ocean, which, you know, couple that with global warming, and you basically have the rapid eradication of so many other natural ecosystems in the ocean that we need to survive. And so when you have one species dominating over another, it leads towards a crisis. So I think we're in a imbalance of relationships because of, of white supremacy. And that's what's causing the climate crisis we have. We have a monoculture. And so just as you look at mono cropping, as you look at anything that eradicates the health of the soil, because it doesn't have the reciprocal relationships that it needs from other crops, and are the resting in order for the soil to be healthy. This might not be speaking to everybody who's listening. But it makes sense that like, Yeah, definitely. The environment crisis is a symptom of Yes. Oh, the climate crisis is a symptom of a larger systemic problem.John Fiege Yeah. And in so many ways, white supremacy was created by colonialism, like, white supremacy is the cultural system that in some ways had to emerge to justify the political and economic brutality of colonialism. You know, it was a it was it was a way of organizing and understanding the world that justified these terrible things that were happening. And they're so it goes so much hand in hand.Layel Camargo Yeah, definitely. Yeah, I mean, I feel like I could talk about this for hours, because there's just so many ways in which we can break it down to the minute level. And then there's so many ways that we can think about solutions. And a lot of my my work and my passion is really bringing as much power as I can to black, indigenous and people of color. Because the retention of culture, language, and different ways of engaging with the world, everything from how we grow our food to how we dress and what we celebrate. And where we honor is what's going to help us be more resilient towards the impending and the realism of what the climate crisis means to a lot of our communities.John Fiege Yeah, totally. Yeah. And you're you're living and working at this really interesting intersection between ecological justice, queer liberation and indigenous culture. Can Can you talk a bit about the intersections of your identity and cultural background and their importance to you and how you orient yourself to this work?Layel Camargo Yeah, definitely. So as I mentioned, I'm a descendant of the Yaki and the Mio tribes in the Sonoran Desert. And I didn't really realize how much this matter to me, I think till about like five to six years ago, because I grew up because of the borders. Technically, I'm Mexican descent, and Mexican American salesperson in this country. But the Mexican government is similar to what we're talking about white supremacy was created by European settlers and, and a hybrid of mixture of stealing of indigenous cultures. And there are so many subgroups of different indigenous cultures. And my heritage is that both my grandfather and my grandmother's tribe as they were nomadic, and they used to migrate up and down the Sonoran Desert, before the border was there from seasonally for survival. And there's so many ways that like food that we eat, how we dress, how we talk that I didn't realize like, Oh, that makes me so much more than just Mexican American. It makes me more than just Latinx. And I think my background and being in such close proximity to immigration and the necessity of immigration or to survive because my grandmother came to Tijuana because it was industrialized and she needed work. And so when they migrated, they like left everything behind. And they never went back. Like, I think so many people leave their home, thinking that they're going to go back and they don't, their children are born in different places. And eventually, that led me to be born in a different country. And so because of that background, I am so keen to issues around native sovereignty and land back here in the United States is like the retention of keeping people in the place of their origin is a climate solution. It's a way of keeping that ancestral knowledge in the place that is needed. I mean, here in Northern California, we look at the wildfire crisis, and it's due to climate change. And it's also due to the lack of forest management, that our indigenous relatives that are native to that area have been robbed of the opportunity to maintain those forests at the scale, which is needed in order to adapt and prepare for wildfires. Yeah,John Fiege yeah, with with the prescribed burning, and all that maintenance that used to happen. That was invisible in so many ways to the European colonists, they didn't even understand that that was going on, or how it worked.Layel Camargo Yeah, and I feel like, you know, it goes back to the monoculture. And I think, because I have indigenous ancestry, because I understand the nature of needing to migrate. And the realities of migrant experience, I think I feel so passionate about keeping people in their place of origin as much as possible, and allowing for people to move freely when they have to. And I think as as the climate crisis gets worse, I started to realize just what a disservice we have made by instilling borders by having governments that have been so gatekeeping and operating off of scarcity, that we've kind of mandated a world where people can move freely people, and people have to leave their place of origin. And that these two paradox that we exist in, is creating the dehumanization of a group of people that if you cannot sustain yourself in your place of origin, because of global extraction, by the way, because of environmental degradation and the economic viability of your area, and how that creates wars and mass extraction, that that is why people migrate. But yet those same people who are creating those systems that make it difficult for you to stay in your place of origin have also created borders to not let you move freely. That paradox to me is also part of this climate crisis as because many of us are going to have to leave john, at some point, there's going to be floods, there's going to be hot water, we're experiencing a drought prices in California, I'm actually living between northern California and Southern California already. And a lot of it is because of the wildfires and my family's down here. And my family's at threat of sea level rise by living in San Diego, which San Diego filed a lawsuit against Exxon and Chevron. And I think one or two other oil companies is we're all we're all existing now in this global climate crisis, that it's not quite in our face every day, but we feel it seasonally now, so we're gonna have to be able to move. Right? So yeah, and last to say is like similar to my cultures I have I lived with an end an endocrine illness. And so air pollution is something that could severely impede my ability to reproduce my ability to function. At this point, I spend about four to five days a month in bed, working from bed, and I'm fortunate enough that I get to work remotely. But for a lot of people, we're going to see more and more ways in which the mass destruction of the planet which has led to the climate crisis is how we become to adopt ways of having different abilities or not being able to live our day to day function. So yeah, the intersecting points are just, they're overwhelming. And I think a lot of us are starting to feel that more as things start to kind of get a little worse.John Fiege Right, right. Yeah, I was talking to, to my partner the other day, she was she was talking to a fellow activist about this idea of ableism. And how, you know, so much of the discourse around it is you know, what are your abilities and, and this, this person was talking about how it it's how unstable that is. Like you can be able bodied today and tomorrow, you can be not able bodied in the same way. Because of, you know, like you say the changing air quality or something happens, or you just you're getting old, or you get sick. And it's one of those things that we've so ignored as a culture of what, what ableism really means about our assumptions about the world.Layel Camargo And like the economic viability and how our economic system is just so dependent on us being fully productive 24 seven, which I made a video on this called The Big Sea, which talks about the intersecting points of labor and how the labor crisis is actually the root of our climate crisis. Because if we can have people have a bigger imagination around how they can use their bodies, to serve their own needs, instead of serving the needs of corporate interests, how that would actually alleviate a lot of pressure on the planet. And that that would potentially lead to our most successful outcomes in regards to the climate crisis.John Fiege Yeah, totally, totally. Well, can you tell me about decolonizing conservation in the environmental movement and what that looks like to you?Layel Camargo Yeah, so I, I started during the beginning of the pandemic, I started a nonprofit called shelterwood collective, which is black and brown and indigenous queer folks who are aiming to steward land at the time, I was aiming to sort of land a month ago, we acquired a 900 acre camp in cassada, California, and Northern California and our team is about conservation efforts, specifically with forest resiliency against wildfires. Taking Western Western practices of conservation, mixing them with indigenous practices that are similarly to conservation. And I feel like when we think about conservation efforts, a lot of them have been dictated by European ways of thinking through conserving natural environments, which a lot of it is like humans are bad, nature must be left uncared for. And this does such a disservice because our indigenous ancestors knew that in order for a forest to be thriving, we needed to be in relationship with it, we needed to monitor monitor it, if there was a fun guy or a virus that was spreading their disease, that we could actually help it, he'll help trees, he'll help it spread less, if there was fires that were coming that we could trim, and tend and do controlled burns, if there was, you know, sucks anything happening where a species was struggling, that we could help support its growth and its population by you know, hunting its predators. And so I think that, that is the challenge between indigenous conservation efforts are traditional ways of just being in relationship with the natural environment and conservation is the western conservation is that we have been so removed from what it means to protect water systems, what it means to protect forests, that now we have a crisis of mismanagement we have and that more and more countries are adopting European Western perspectives because of the dominance that white supremacy has instilled that there are certain group of people that know more than we do. And that's just that's created, at least for me feels very heavy on when it comes to wildfires. There is certain areas in Northern California where there have been residential communities that have been built on wildfire lines that we know now, indigenous people knew that like every 30 years, for every 50 years, there would be a wildfire that would run through that area. And now that we're not that it's getting hotter, the gap of that time is getting shortened. And also that we're realizing that the years, hundreds of years of mismanagement, and lack of tending has led to also these extreme wildfires, that's now causing casualties outside of wildlife. And I feel like conservation needs to evolve. I think that there needs to be more understanding around the harm that Western conservation has done to not only the ecosystems but to the people who have traditionally been keeping those ecosystems. And I do feel like it's like it's evolving. I just think that it's not evolving as fast as we need. And unfortunately, with the climate climate crisis, we're gonna have to really come to recognize what do we need to move really fast on on what can wait because it just feels like Everything's urgent, we need to save the oceans as much as we need to save the forest as much as we need to Save the Redwoods as much as we need to take the rain forests and it just feels like and and that is like the natural environment, then we have like the growing list of extinction, threats of extinction for certain animals. And I think that I don't know why just came to my head. And then you have people like Bill Gates who want to eradicate a whole mosquito species. So it just feels like we're gonna have to pick and choose our battles here. And I do feel like coming to reckoning around the harm that this pervasiveness in western conservation, which isn't the idea that sometimes we are harmful to, you know, our natural ecosystems isn't a bad one. Yeah, we are. But how we got here was by completely removing ourselves and not knowing how to take care of those ecosystems, had we been in a relationship with them for the last 100 years, maybe we wouldn't be so wasteful, maybe we would have caught air pollution sooner than then our body is telling us, hey, we don't like this, this is bad, we're gonna die sooner if you keep doing this. And I think that that is a disservice. So it's beautiful to see more forest schools popping up for young people. It's beautiful to see more conservation groups trying to bring in indigenous leaders into the conversations. But I do feel like that overall idea needs to shift. And I also think that the land back movement, which is returning national parks back to indigenous hands, is going to help alleviate some of those major tensions that do not honor that certain people have been doing this for hundreds of years. And if we don't return it in this generation, we just run the risk of losing more language, more culture and more practices that we need at a larger scale.John Fiege Yeah, in protecting ecosystems is just not a complete picture of everything that's needed. Like as you say, it's important on some level, but it's it's not it's not a whole, it's not a whole understanding of of the problem or how to address it. There reminds me I was I was just reading or rereading a bit of Robin wall kimmerer book braiding sweetgrass, and she talks, she talks about this very issue a bunch about, you know, sweet grass in particulars is something where there's this, this back and forth relationship between humans and nature. And she talks about teaching one of her University classes up here in New York, and asking them at the beginning of the semester, you know, whether people are bad for the environment, and almost everybody says yes. And we alsoLayel Camargo have this this perception of we are bad. Right?John Fiege Yeah. Yeah, this Western guilt is pervasive in that as well. Which is,Layel Camargo which is facilitated by religion? Yes, religion has a very good job of making us feel like we are horrible for everything that we have sent us that we need to repent for our whole existence as like, going from embryo to sperm is actually a sin itself. So we're born with so much already on our shoulders.John Fiege I was gonna say Catholic guilt, but I feel like at this point, it's so much broader than that. Yeah, it is. So you work with the Center for cultural power. And, and one of the main projects you've done with them is climate woke. And I'd like to start by saying how much i'd love the artwork of the logo. It says climate woke. And it's in, in the style of this fabulous flashback 1980s airbrushed t shirts, with, you know, rainbow colors and sparkles. And it feels like there's so much meaning embedded in the artwork. And I wondered if you could tell me about climate woke, how the project emerge, but also like how this logo artwork reflects what this project is.Layel Camargo Yeah, so we when we started thinking about what climate woke would be, we didn't know what's going to be called climate woke it was through several meetings with different community partners, different funders and other stakeholders, where we kind of discussed that we wanted a unifying symbol for all the communities that we had been meeting and we kind of landed that we wanted something to look good to represent black Dan Brown young people between the ages of 16 to 25, something that was appealing that somebody would wear with pride. And, you know, at the time, there was a lot of like, different stuff coming up around the importance of wokeness. The it wasn't used as how we use it now, which is like political correctness. It's, it's, it's not where it is now. And so we decided to kind of ride on the, the term itself climate woke, which talks about uses black vernacular very intentionally that this is a racialized issue. And we spoke with several leaders in the black community, and at the time, it felt like it made sense. And, and so we kind of quickly were like, this makes sense kind of work. We want people to wake up to a climate crisis, but also be like down and enjoy it. And that it's different than this doom and gloom narrative that we constantly see when it comes to the environment. As it is kind of depressing when you think about it. But so we wanted it to feel like inviting. And at the time, which I think was like 2017 2018. All these like 90s was like coming back. So we sat with like two or three potential designers, and we didn't really like what we saw. And then it was heavy and agile that he Guess who is kind of a co creator of this. Also, like a globally recognized artist who was like, hold on, I got this and just like hopped on her computer through some colors, did some and we were like, We love it. Like we just love it. We wanted it to be bright. We wanted it to be inviting. And I feel like we've been successful just two weeks ago actually got a text from my executive producer who works on the planet. Well, content, it was like to send a photo of like, I believe it was a young male of color about 21 or 22 years old wearing a climate woke t shirt. And she was like, do you know where that's from? And he was like, No, I have no idea. And I was like, that's how, you know, we succeeded. Because we popularize something, we made it look so good. People don't necessarily need to make the connections, but they'll be promoting our work. And I'm sure and I get so many compliments when I wear t shirts and sweaters. And so she she told him to look up the videos. And you know, she sent me the photo. And she's like, we've I think we've succeeded. And I was like, I think we succeeded, I think we have you know. But at this moment, we are considering evolving the terminology because it doesn't feel as honoring. And we definitely are very sensitive to the fact that we use black vernacular intentionally. And it's time to kind of give it back and think through like what other ways can we popularize other terms to kind of help. It's about it's about to help kind of build the community because it was about building a group of people kind of drawing in a certain community that wouldn't necessarily be about it. And I feel like that to me was like a, we did it. We did it.John Fiege Yeah, it's it's it's definitely one of those terms that the the right has co opted and really done a number on they. Yeah, they're they're good at stealing those terms and turning them on their head. And usually, honestly, as a as a weapon back the other direction. Can you turn down your volume just to hear again, just noticing when you get excited? I get excited so much. Alright, how's that? Right? Great. Yes. So in a couple of your videos, you talk about what being climate milk means to you. And you say it means one, standing up for communities of color and communities most impacted by climate change, to complicating the conversations on climate in the environment. And three, doing something about it. Can you take me through each of these and break them down a bit?Layel Camargo Yeah, so the first one is, can you repeat it again, that's the firstJohn Fiege standing up for communities of color and communities most impacted by climate change,Layel Camargo right? That's right. Yeah, I've said it so much. And we actually haven't even recorded anything because of the pandemic. So I'm like, I haven't said it in a while. Yeah, standing up for communities of color. I think that that one to me specifically spoke to that. We need black, brown and indigenous people to feel protected and seen when it comes to the climate and environmental crisis. And that's everything from activating people in positions of power to empowering the people who come from those communities to know that this is an intersectional issue. I think that the climate crisis traditionally was like a lot of visuals of melting ice caps, a lot of visuals of the polar bears and you It's interesting because as we're getting more people narrative, I feel like the, we need to get a little bit more people narrative. And we need to return those images a little bit back, because the IPCC report has just been highlighting the rapid rates in which we were losing ice. And I think that when I initially thought of this at the time, there wasn't highlights of how indigenous people were protecting the large scale biodiversity that we have on the planet. There wasn't stories of, you know, urban, black or brown youth trying to make a difference around solutions towards climate change. And so I kind of made it my purpose that climate woke represent those demographics that we that I was important for me that black, brown and indigenous people of color were at the center of the solutions. And the complicated conversations and do something about it was that I actually feel like we have a crisis of binary versus complexity in our society. And I think that how we've gotten into this climate crisis is because everything's been painted. So black and white for us, that if you want a job, you have to be harming the planet, if you want to be unemployed, then. And then like all these hippies that are fighting to save the trees, they're taking away your job, you know. So I feel like there's so many ways in which our trauma responses just look for the patterns have been used against us. And it just felt really important for me, that people feel comfortable to complicate as much as possible, where we're gonna need different angles and different ways of looking at solutions that we need to embrace experimentation, where we need to embrace failures, and we need to really let go of these ideas that technology is going to come in and save us technology is a big reason why we got into this mess. And so I think that complicating the conversation to me was about this is like, if you are black, brown, indigenous, and you want to be a part of the climate crisis, but you have no way of integrating yourself besides talking about gender oppression, go for it, look at look at the leaders in this movement, and look at how many women are fighting and protecting, you know, at a larger global scale that don't get the visibility that they deserve. So I feel like that was my aim is to really invite that complexity. And then let's do something about it is that I don't want things to get stuck on the dialog. One of the biggest failures of the United Nations when addressing these crisises is that they don't have global jurisdiction. So they cannot actually mandate and or enforce a lot of these, it's usually done through economic influence, or like if one if we can get a first world to sign on to a certain agreement, then hopefully, they'll all do it. But then who ends up in implementing it, usually it's not the United States and Europe is not the first one to do it. And yet, we are the biggest global polluters on almost every sector you can think of. And I think that the do something about it is, for me a call to action, that we can talk about this, we can try to understand carbon emissions, methane emissions, global greenhouse, carbon markets, carbon, sequestering drawdown methods, we can talk about it. But if we're not doing it, putting it to practice while integrating these other two points, which is centering communities of color, and embracing the complexity of that, then it's nothing, it's pointless. We're just we're just allowing corporations to keep exploiting the planet and governments can keep, you know, sitting back and saying that they're doing something because they're convening people without actually regulating and putting down their foot for us. So, yeah, I think it was trying to summarize just my general feelings of this movement and the ways that there's been just lack of opportunities by not centering certain other people or allowing there to be more complexity.John Fiege Yeah, there's, I find, watching how those un meetings go down. So frustrating. Yes, just, you know, Time after time. It's just maddening. I'd have a hard time working in that space.Layel Camargo Yeah, I think I was fortunate enough to take I voluntarily took like a law class at pace, Pace University, pace law University, and one of the classes was United Nations policy, and so I got to witness the sub All meetings before that big meeting where Leonardo DiCaprio came out and said that we had a climate crisis, which everybody googled what the climate crisis was, I think it was called climate change. It was like the most time climate change was googled in the history of mankind. And I was sitting in those meetings and just seeing how it really is just a lot of countries just try not to step on each other's toes, because relationships translate into the economic sector, that I'm like, wow, y'all, like legit, don't care about the people you're representing?John Fiege Yeah. Yep. Yeah, it's crazy. Well, I wanted to talk a bit about what environmental justice means to you. And I thought we could start with your video called a power to rely on. And in your crudest, you include a statistic in the video that says in the US 75% of all houses without electricity, are on Navajo land. And, and then one of the people you interview in the video with Leah, John's with a group called native renewables, says, whoever controls your water and your power controls your destiny. And that's really powerful statement. Can Can you talk a bit about your experience working on this video, and how it impacted your thinking about environmental justice?Layel Camargo Yeah, so I, I realized that I'm really passionate about renewable energy and alternatives to energy capturing, probably through working on this video. And when we were first thinking about what themes we were going to cover, that's usually how I approached most of the climate world videos as I tried to talk to a few community partners. But mostly, I just do a lot of like, cultural observation, just like what are some of the themes that feel that are kind of resonating for people outside of the sector. So what's resonating for folks outside of the environmental justice world, and, you know, land back native sovereignty is something that's been popularized, especially after the Standing Rock camp, the no dapple camp, and I was noticing that it was kind of dwindling down. But a lot of data was coming up around the fact that a lot of indigenous communities are either sitting around and or holding and protecting 80% of the global biodiversity. And so something that how I approached this video was I wanted to show the native sovereignty piece with the land back as well as my passion for alternatives to our current energy use. And what Haley Johns is somebody who was recommended to me by Jade bug guy who's also featured in the videos, a dear close, like cultural strategist, filmmaker, co conspire in the sector. And she would I had initially approached her and said, I want ndn collective, which is what she works to kind of help us think through the script. And she said, Yeah, we're down and like, we trust you, like, we know you're gonna get the story, right, but we're down. And so it was, it was very easy for us to start with that. And then when I was like, Who do I talk to? They're like, you need to talk to a hayleigh. And I was like, Alright, let's talk to a healer. And so I flew out to Arizona, just to have a scout meeting with her, which I felt like I was chasing her down, because we didn't know she was going to be in Flagstaff, or if she was going to be near Phoenix, like we didn't know. So we were flying in. And we were like, Where are you today? She's like, I'm at my mom's house. I'm with my mom at this hotel. And we're like, Alright, we're coming through. So it felt very, like family off the bat, which now she has been nominated for I forget the position, but it's the internal affairs of Indian energy, energy efforts and some sort. So she's she's doing it at a federal level now. And when I was when I was working on this video, and I had talked to her and I interviewed her as she was giving me a lot of these numbers, and I just realized that, you know, the irony of this country is just beyond what we could imagine. You have a lot of these coal mines that help fuel some of the larger energy consuming cities and in the United States, like Vegas, like la that just consume energy at such high rates that are being powered by coal mines in Navajo or near Navajo Denae reservations. And yet, I was hearing about what halos program and her efforts were just trying to get funding and or subsidies from the government in order to put solar panels on folks his house because the infrastructure doesn't exist. And she was running she's letting me know about that. cost, she's like at $75,000 per house. And then we in order to like run the lines, and that's not even including the solar panel infrastructure. And then if they can't, we can't run the lines, and we're talking about batteries. And she was breaking this all down, I'm like, that is a lot of money. We need to get you that money. And then she started just educating us more through that. So I think I went into this video just knowing that I was going to try to make those connections. But what I realized was that I was actually going in to learn myself, just how much I need to humble myself with the realities that communities who have had less to nothing in certain things, everything from food, to energy to water, have made alternatives that they are, they've already created the solutions like we found one of the elders who had put up one of the first solar panels and Hopi reservation, which I highlighted in my video, she got it 30 years ago, like I, I was flabbergasted that she had the foresight, and the way that she articulated was everything from comfort to entertainment. But at the end of the was she knew she needed power. And she runs a business, the local business won a very few on the reservation that she was passionate enough to keep alive. And so this video just showed me that like, wherever you go, where there has been disenfranchisement, that's where you will find solutions. Because a lot of people have just making do for a long time, it just hasn't been seen, it hasn't been highlighted. Those are the people that like the UN should be talking to the you know, our federal government should be listening to.John Fiege Yeah, and I actually wanted to talk to you about Janice de who's the Hopi elder that you mentioned. And, you know, in particular, how it relates to how depth and skillful you are communicating with people from a wide range of backgrounds. in you, you you use humor a lot. And in this power to rely on video, you're sitting down with Janice day. And talking about how she's one of the first people to get solar power 30 years ago. And you asked her whether the first thing she charged with solar power would be a vibrator. And that was that was that was really funny. And all of a sudden, I'm watching with anticipation, asking myself, how is this woman going to react to that question? And you seem to have such a good read on the people you're speaking with. And I was hoping you could talk a bit more about how you communicate so many, so well and so many in so many different spaces and how you consciously or unconsciously lubricate the relationships with humor.Layel Camargo Yeah, I've been I I think a lot of it is my passion for humor has come from has been maintained by a lot of data and information that I've gotten around just the importance of people being able to process things through laughter. And that the climate crisis is nothing to make mockery and or to laugh, there's this is very serious. The ways in which our species is kind of being at threat of extinction, and right before our eyes. But I think that as humans, we're so complex and layered, and we're so beautiful in the sense that we get to feel so intensely and feeling is what motivates us to take action. And laughter helps you process so much data quicker, it helps you be able to take something in, embrace it, release, and then have it make an impression that is the one line that everybody brings up with that video. So I made the impression. And I hope that people watched it and then wanted to show it to other people. And so I think that, that that knowledge has retained my passion for humor. And then like I said, You know, I grew up in an abusive home where we had to process things fairly quickly in order to be able to function in the world to go to school to go to work. And growing up in a home where there was a lot of violence. I learned how to read people very keenly everything from anticipating when something was going to happen tonight, and I speak about that pretty like nonchalantly because I think a lot of us have a lot of strategies and skills that we've developed because of our traumas and our negative experiences that we've had in the world. And I think they don't often get seen as that we'll just say like, Well, I was just really I'm just really good at reading people and we'll leave it at that and it's like, but what is your learn that from like, there have been many chronic situations where you had to be really good at reading people in order for you to like practice it so clearly in it skillfully. And so I think I honor my experience in that in order for me to do that. And then I think cultural relativity and cultural content petencies is another thing like, Janice de actually reminds me a lot of my grandmother and my grandmother was somebody who was very religious. And at the same time, I always loved pushing her buttons. I would just like try to say things to get her activated. And I knew at the end of the day, she loved me. And that was about it. I didn't have to question whether she loved me because she was upset that I asked her something and appropriately. So I think it's a combination of that. And I'm grateful that I can embody that and be able to offer it to people who are curious about climate change and and feel more invited through laughter than they would about doom and gloom or heavy statistic videos and our ways of gathering information.John Fiege Awesome. Well, another kind of video you made is called consumerism, cancelled prime. And the first shot is you waiting while the camera crew sets up the shot and you're putting items in your Amazon cart on your phone. And then the quote unquote real video begins. And and you say 80% of California's cargo goes through the Inland Empire. And then you yell along expletive that's beeped out. And you ask emphatically his climate, wrote, his climate woke about to ruin amazon prime for me. And and I love how rather than just saying Amazon, or Amazon customers are bad. You're starting by implicating yourself in this system that leads to serious environmental justice issues. And again, it's really funny. Can you talk more about the situation with Amazon and other real retailers? And and how you went about positioning yourself in this story, and using humor again, and self criticism to connect to the audience?Layel Camargo Yeah, I mean, when we first started working on this video, we explore different avenues of that opening scene, when we wanted to highlight community members, I kind of at this point, have a pretty good like tempo of what it is that I want. I want a community member I want somebody who's like academic or scientifically based, and then somebody else who kind of comes in allows her to be more of a creative flow. So we have a pretty good structure at this point of the voices that we seek, we just didn't know how we wanted to hook the audience. And we went back and forth quite a bit on this, the thing that kept coming up was amazon prime memberships are very common. Most people have them most people buy on e commerce and this is pre COVID. And I was keenly aware of that I also knew that Amazon was growing as a franchise to now own Whole Foods that were just like expanding in regards to what it is that they offer people online. And as I mentioned, I, through my passion for reduction of plastic usage and plastic consumption, and plastic waste, I understand the ways that ecommerce has really hurt the planet. So I myself am not an Amazon Prime member, I I don't actually buy online and I allow myself when needed one Amazon thing a purchase a year. And it's like kind of more of a values align thing. So in order for me to reach connecting with somebody who's kind of a little bit more normal in regards to needing to rely on buying online, is I just had to exaggerate what I think happens when you're shopping, which is you look at a lot of stuff, you add them to cart, you get really excited, and then you kind of mindlessly click Buy without knowing what's going to happen. But you're excited when it arrives, surprisingly, because maybe you bought it in the middle of the night while drinking some wine and watching some Hulu. So that's like what I was trying to embody. And then what I was really trying to highlight in this video was I wanted to invite audiences to not feel shame about what they do, like we are we've all been indoctrinated by the system through what our education has taught us. Like we have values of individualism and patriotism and all these things, because that's what we were taught in schools. And that's been used and co opted by corporations in order for us to continue exploiting other humans and the planet. And that's by no fault of our own. That's a design that's an economic model that was designed since the Great Depression. It's just the way that it's been exaggerated and has scaled so quickly is beyond our control where our governments don't even regulate it anymore at the ways in which they should be. And I think that I wanted this to feel like it's not just on you as an individual, but it's specifically if you live in Europe or in the United States. You need to know that we are The biggest consumers on the planet, we have the most economic resources. We actually, if even a fraction of the United States decided to stop shopping at Amazon, we could significantly bring that Empire down. I say Empire pretty intentionally. And we could I mean, I feel like you. And that's and how I understand economics is that all you need to do is impact 10 to 20%. of supply and demand chain in order for a whole corporation to collapse. The problem is, is that our governments always come in to aid these large corporations that are hurting us on the planet by saying that they want to maintain jobs and maintain a GDP are going stock market, which they're reliant on. So this video was meant for audiences. And for people to feel like this is not just on you. But if you live

Kazim Rashid is an artist, manager, and creative director based in Berlin and London.  I found out about him through my good friend David Okumu who is our magical, mutual connection. Aside from his work as a manager, Kazim is chief creative officer at Resident Advisor, the world's largest and most influential electronic music platform.  His work often focuses on collaborating with artists, record labels, and brands to help them achieve their goals in the music industry. We get into the current state of things for artists navigating the changing tides of music commerce. Strap in!   Music for this episode comes from a chap I met in Berlin thanks to Hainbach. Mr Ayjay Nils plays Viola in the Berlin Phil and is a great improviser :) A rare combo! He's also super into weird and wonderful electronic music which is featured in this show. It's all from an upcoming album Here's his Bandcamp to check the action! https://ayjaynils.bandcamp.com

GOOS (QATAR) With a combination of steady, yet very well received gigs, Goos brings a distinctive energy to the floor. His sound ranges from intricate melodies to chunky basslines, often inspired by earthy tones from around the world. Goos was born in Doha, Qatar to musically inclined parents who introduced him to rock music at a very young age. This early onset of music led to a gamut of musical influences in his life ranging from Led Zeppelin, The Doors and Pink Floyd. His deep- seated love for percussion instruments led Goos on a pursuit to learn the Mridangam. This subsequently enabled him to also take up drumming, giving him a well-rounded understanding of percussion. Goos discovered his passion for dance music through the unique sounds of Eric Prydz and Roger Sanchez. Goos hosted his own showcase at the Amsterdam Dance Event (ADE) in 2018 titled Journey onTour presenting artists from around the world apart from Journey on Tour gigs across India. Goos has played alongside international artists such as Acid Pauli, Viken Arman, Julian Jeweil,Olivier Giacomotto, Denis Horvat, Toto Chiavetta, Ten Walls, Paji, Lane 8, Yotto, Ben Bohmer, Gallago, Nils Hoffman, Dee Montero, Tinlicker, Kora, Theo Kottis, Kevin De Serna, Eelke Kleijn,Sebastien Leger, Joseph Ashworth, Roger Martinez, Dousk, Just Her, Roger Sanchez, Kid Crème and Funkagenda to name a few. Goos has also played at the Echoes of Earth Festival, Satellite Beachside festival in Goa and Go:Madras in Chennai alongside many local acts apart from international artists. Goos was picked as one of ten rising DJ's worldwide by Pioneer DJ for their Kuvo service. This was heard and reviewed by Daisuke Ito, a long time contributor to club and culture publications including Resident Advisor. Goos' sets have been featured on British Airways and Emirates Inflight Entertainment Worldwide, Cafe Mambo Ibiza Radio, Everything will be OK (UK), Zenebona Radio, Sonne, Strand Und Meer, The Deep Room, Deep House Athens, and more. His fortnightly podcast ‘Journey' is over 6 years old and champions the best in deep and organic house. It showcases the full range of sounds of this versatile artist apart from a rotating roster of guest mixes on every episode. Goos also holds a weekly residency on Pure Ibiza Radio UAE (94.7 FM) called Journey on Air.

K. Guillory (aka Aemeth) has been writing The Metaculture online magazine since August 13, 2021 with over 70 articles covering the latest trends in arts and culture on social VR platforms such as VRChat. She focuses primarily on the live music and performance scenes, but also has been tracking the historical evolution of the underground clubbing scene in VRChat, virtual fashion, as well as many other artistic trends from painting in VR to film in VR to VTubers. In fact, I mention some of her intrepid work in my own interviews with Starheart on VTubing and BabyBonito on painting within VR as her previous interviews on these topics and coverage on these trends came up they were continuing to evolve and be featured at the Raindance Immersive festival in 2023 and 2024. Guillory has been ahead of the curve in terms of tracking some of these trends of virtual culture before they get picked up and highlighted by other curators and virtual cultural critics and essayists. Guillory was inspired to start The Metaculture magazine from a conversation that I had with her on July 24, 2021 at Nanotopia's Mycelia exhibition in VRChat as a part of the AMAZE festival. She was sharing with me all sorts of insider tips on the underground dancing and clubbing scene with VRChat, and so I suggested to her that she find a way to archive, document, and publicly share more of this oral history knowledge as most of the information about the nuances of these hidden corners of the VRChat cultural scene were scattered across disparate Discord servers, ephemeral Twitter announcements, as well as insider community knowledge from knowing someone who knew someone about it all. Starting in 2021 and 2022 there started to be more and more YouTubers creating documentaries about VRChat's underground clubbing scene trend with Straszfilms' The Virtual Underground: An Introduction to VRChat's Rave Scene published May 5, 2021. Then Phia's The EXPLOSIVE Rise of VRChat Clubbing published her take on it on her The Virtual Reality Show channel on Mar 12, 2022. Then I actually conducted this interview with Guillory featured here on March 25, 2022 right as the zeitgeist about the clubbing scene started to explode. I knew she was tracking it very closely, and I wanted to get a bit of an insider's perspective on it all. Then a few weeks after I recorded my chat with Guillory, PBS Voices published their I Went Clubbing in Virtual Reality: Raves of VRChat on Apr 6, 2022, and then Guillory/Aemeth was featured as a subject matter expert on Resident Advisors' piece The music, venues and creators driving virtual reality clubbing that was featured on Sep 28, 2022. You might able to detect some of the parallels of how she tells me the story in this interview as well as some of the points that she also makes within the Resident Advisor video. The Origin Story of VRChat In the process of producing this episode, I came across this documentary by YouTuber Twice about the History of VRChat 2014-2022 that does a really great job of establishing the major platform developments, UI/UX changes, as well as turning points in the cultural evolution of the VRChat platform. Twice first came across VRChat in 2017, and so his video aggregates some archival footage before he started creating his own content, but for everything after 2017 he weaves his own personal history, footage, and memories on the platform to help flesh out the broader story of VRChat as a platform. This documentary inspired me to go on my own trip down memory lane as well as a entering into a bit of a rabbit hole of research into the origin story of VRChat itself, and so I wanted to share some of the results of my archeological dig here. I first ordered my Oculus Rift DK1 on January 1, 2014, and I received it about a week later. I along with many VR enthusiasts and VR developers ended up obsessively following the /r/Oculus subreddit as this where a critical mass of the community was congregating to share ...

GOOS (QATAR) With a combination of steady, yet very well received gigs, Goos brings a distinctive energy to the floor. His sound ranges from intricate melodies to chunky basslines, often inspired by earthy tones from around the world. Goos was born in Doha, Qatar to musically inclined parents who introduced him to rock music at a very young age. This early onset of music led to a gamut of musical influences in his life ranging from Led Zeppelin, The Doors and Pink Floyd. His deep- seated love for percussion instruments led Goos on a pursuit to learn the Mridangam. This subsequently enabled him to also take up drumming, giving him a well-rounded understanding of percussion. Goos discovered his passion for dance music through the unique sounds of Eric Prydz and Roger Sanchez. Goos hosted his own showcase at the Amsterdam Dance Event (ADE) in 2018 titled Journey on Tour presenting artists from around the world apart from Journey on Tour gigs across India. Goos has played alongside international artists such as Acid Pauli, Viken Arman, Julian Jeweil, Olivier Giacomotto, Denis Horvat, Toto Chiavetta, Ten Walls, Paji, Lane 8, Yotto, Ben Bohmer, Gallago, Nils Hoffman, Dee Montero, Tinlicker, Kora, Theo Kottis, Kevin De Serna, Eelke Kleijn, Sebastien Leger, Joseph Ashworth, Roger Martinez, Dousk, Just Her, Roger Sanchez, Kid Crème and Funkagenda to name a few. Goos has also played at the Echoes of Earth Festival, Satellite Beachside festival in Goa and Go:Madras in Chennai alongside many local acts apart from international artists. Goos was picked as one of ten rising DJ's worldwide by Pioneer DJ for their Kuvo service. This was heard and reviewed by Daisuke Ito, a long time contributor to club and culture publications including Resident Advisor. Goos' sets have been featured on British Airways and Emirates Inflight Entertainment Worldwide, Cafe Mambo Ibiza Radio, Everything will be OK (UK), Zenebona Radio, Sonne, Strand Und Meer, The Deep Room, Deep House Athens, and more.His fortnightly podcast ‘Journey' is over 6 years old and champions the best in deep and organic house. It showcases the full range of sounds of this versatile artist apart from a rotating roster of guest mixes on every episode. Goos also holds a weekly residency on Pure Ibiza Radio UAE (94.7 FM) called Journey on Air.

Steve Bug is a DJ and producer that has been electrifying dancefloors across the world since the early 90s with his signature sound that seamlessly integrates influences from across the entire spectrum of electronic music. A man that has been described by Resident Advisor as the "gentlemen of Techno," Steve is the mastermind behind the hugely influential label Poker Flat Recordings, which is celebrating its 25th anniversary this year. In our conversation, Steve tells us about his humble beginnings in Bremen, his meteoric rise to fame and how he has kept his label at the cutting edge of dance music for a quarter of a century. FOLLOW US Instagram: @houseculturenetSpotify: House Culture - Perfect PlaylistYouTube: @houseculturenet|| Support this show http://supporter.acast.com/houseculture. Hosted on Acast. See acast.com/privacy for more information.

"I started in the clubs, and that's where my heart is." The British singer-songwriter and RA's newest cover star talks about her new album, BRAT, live from AVA London. This week's Exchange is with Resident Advisor's latest cover star: Charli xcx. The British singer-songwriter has garnered a reputation as one of the most unpredictable and boundary-pushing pop artists of her generation, collaborating with contemporaries like A. G. Cook, Yaeji and the late SOPHIE. And she's now on the heels of her most recent album, BRAT, which came out in June and has already been lauded as one of the best albums of the year. In this conversation recorded live at AVA London with journalist Chal Ravens, Charli xcx dives into the making of the album. She calls it a club record—that, she says, is "where her heart is." After posting songs on MySpace around 2008, she was asked to DJ at warehouse parties when she was still in her teens. She felt alive in that space, she remembers, doing crazy, embarrassing things. Now in a different chapter of her life and career, she contemplates her desire to make challenging music that still appeals to a broad audience. It's a pendulum that swings radically in both ways, and she finds herself reinventing herself within the pop space and navigating that tension again and again. Listen to the episode in full.

It's Glastonbury time – and this week, we're diving into the past, present, and future of electronic music at the UK's biggest music festival with the Editor of Resident Advisor, Gabriel Szatan. Also, Kikelomo presents this week's news: From far-right remixes of hit songs and Justin Timberlake's viral arrest to a new podcast from Ableton.Dazed - The alt-right movement spreading hate with dance musicThe Week is a production by Telekom Electronic Beats and ACB Stories.Host: KikelomoProducer: Aaron GonsherEdit and sound design: Marc ÜbelExecutive Producer: Isabel Woop Hosted on Acast. See acast.com/privacy for more information.

In der Folge #67 des Originalteile-Podcasts begrüßen wir Steffen Strömer, besser bekannt als Candy Pollard. Wir tauchen tief ein in die Welt der elektronischen Musik und erfahren, wie Candy seine Leidenschaft für Schallplatten entdeckte und schließlich zum DJ wurde. Der Heilbronner erzählt von seinen Anfängen, als er mit 14 Jahren seine erste Schallplatte, »Plastic Dreams«, kaufte und damit den Grundstein für seine beeindruckende Sammlung legte. Er gibt uns Einblicke in die Heilbronner Clubszene der 90er und 2000er Jahre und wie sich die Partykultur seither verändert hat. Besonders spannend wird es, wenn Candy von seinen ersten Auftritten erzählt – von der Herausforderung, ohne Monitorboxen im Hip Island aufzulegen, bis hin zu den legendären »Who the Fuck«-Partys im Mobilat. Dabei schildert er auch die enge Zusammenarbeit mit anderen DJ-Kollegen und die Bedeutung von Licht- und Soundkonzepten für die perfekte Partyatmosphäre. Eines der Highlights ist sein Erlebnis im Berghain, einem der renommiertesten Clubs der Welt. Hier erfahrt ihr, wie es sich anfühlt, vor einem internationalen Publikum zu spielen und welche Unterschiede es zwischen den Clubkulturen in Deutschland und anderen Ländern gibt. Zum Schluss sprechen wir über die Zukunft der Clubszene in Heilbronn und welche Wünsche Candy Pollard für die elektronische Musikszene hat. Ein Muss für alle, die sich für Musik, Clubkultur und die Geschichten hinter den Plattentellern interessieren. Weblinks & Social Media von Candy Pollard: • Soundcloud: https://soundcloud.com/candypollard • Resident Advisor: https://de.ra.co/dj/candypollard • Facebook: https://www.facebook.com/candypollard82/?locale=de_DE • Instagram: https://www.instagram.com/candypollard/ Audio: Philipp Seitz (www.philipp-seitz.de) Werbung wegen Namensnennung Unterstützer und Möglichmacher ist das Autozentrum Hagelauer als Premium-Freund dieses Podcasts! Neuwagen und Elektromobilität vom #HeilbronnerOriginal gibt's hier: www.hagelauer.de Infos zu den neuen Fahrrädern: www.bhbikes.com/de_DE #heilbronn #podcast #originalteile #candypollard #djlife #clubkultur #elektronischemusik #berghain #mobilat #housetechno #HeilbronnerOriginal

The Sugababes are definitely having a moment right now. Between new music, appearances at festivals like Glastonbury and MELT, and them being all over our TikTok feeds, the legendary London group is back in a big way. As part of Deutsche Telekom's Summer To Remember campaign, their biggest hit Push The Button has been remixed by Berlin duo DJ Heartstring. In this episode, they talk about the remix and being rediscovered by a new generation. Also, Juba presents this week's news: the ends of MELT Festival and Institut für Zukunft, and Kamal Williams being accused of sexual assault in a Resident Advisor piece. The Week is a production by Telekom Electronic Beats and ACB Stories.Host: JubaProducer: Carlos Steurer, Manuel NovikdEdit and sound design: Marc Übel, Hakan HalaçExecutive Producer: Isabel Woop, Davide Bortot Hosted on Acast. See acast.com/privacy for more information.

On Thursday, September 28th, 2000, Joseph Mesa Jr, a freshman at Gallaudet University, started to get worried about his friend, Eric Plunkett. Eric had missed an 8pm tutoring session that evening, and when Joseph started asking around, he realized that no one had seen Eric for at least a couple of days. Eric didn't have a roommate, so Joseph went to the Resident Advisor, Thomas Koch, and asked if he could just check on Eric to make sure he was okay. Thomas headed down to Eric's room, but he didn't answer the door, so Thomas used his master key to unlock the door, but when he pushed it open, he was horrified to find Eric lying on the floor in a pool of his own blood. Sources: On the Case with Paula Zahn | Season 3 | Episode 2: Gallaudet Murder from On the Case with Paula ZahnPeople Magazine Investigates | Season 3 | Episode 13: The Sound of Silence from People Magazine InvestigatesThe Gallaudet Murders by Katherine Ramsland from Crime Library See ya next Wednesday! Intro/Outro Music: A Creepy Music from Music UnlimitedInstagram: @wickedwithinpodcastWebsite: wickedwithinpodcast.com

Sebastian Mullaert, prodigious electronic musician and former classical violist, voted by Resident Advisor as one of the world's top live acts and twice Swedish Grammy nominated, reveals the enigmatic blend of spontaneity and meticulous craftsmanship that defines his practice, from his transition into electronic music, his acclaimed Circle Of Live project and his latest collaborative project HIND with Henrik Frendin.The essence of creativity and connection takes centre stage in this episode, where the interplay between intellect and emotion in music is dissected. Sebastian explores the transformative power of presence in the artistic process. Music lovers and creators alike will find resonance in our discussion on the challenges of pop production, and the importance of infusing recordings with the authenticity of the human touch.Finally, we challenge conventional notions of creativity, venturing beyond the quantifiable into the realm of natural energy and life force. In a society that often equates creativity with productivity, Sebastian advocates for an approach that honours the ebb and flow of the artistic cycle, emphasising the importance of nurturing an environment where artists can truly thrive. Sebastian Mullaert's insights serve as both inspiration and invitation to rediscover the joys of unfettered artistic expression.The album HIND – Sebastian‘s collaboration with Henrik Frendin is released 24th May via Lamour Records, pre-order it here.Presented and produced by Paul Hanford Paul Hanford on InstagramLost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins

"You could feel the ground shifting beneath you." The long time BBC Radio host talks about her party, All Queens, her love for SHERELLE and music as a force for good. Resident Advisor continues its celebration of Women's History Month (and International Women's Day) with a special conversation with Mary Anne Hobbs. The long time BBC Radio presenter has been a diehard documenter of music culture and a radio fanatic ever since she was a young girl. As she recounts in this episode, the transistor she kept in secret while growing up became her getaway to another universe, a beacon of hope that she listened to every night under the covers at home. In 1996, she became a host at BBC Radio 1. It was a time when there were few women involved in the music industry in general, and few people at all championing leftfield electronic music. Hobbs famously started the Breezeblock show and championed dubstep and grime, pushing new artists whose work she admired and helping usher them into the limelight. Today Hobbs' iconic voice is still hosting the radio every day—this time at Radio 6. She's leading an exciting project called All Queens, a platform that started as a radio show for women's music that has quickly turned into a touring club night and residency at fabric run by and starring women, from the sound engineers to the bouncers and headliners of the night. Hobbs discusses the platform and is joined by close friend SHERELLE, who dissects some of the nuances in representation the scene fails to overlook when it discusses gender in nightlife. The pair recently performed sets together at the BBC Radio 6 Music Festival. Listen to the episode in full.

Akeem Asani Linkedin Listen to Akeem's band Purelink on Spotify /Bandcamp/YouTube Music Follow Purelink on Instagram and read the Resident Advisor and Pitchfork review.   Secretly Distribution and listen to Secretly's Spotify channel for new music at Secretly Weekly Education: DePaul University- Communications and Media Studies  

"Art and music are the same, they're just different dialects." The Chicago house music legend talks about co-curating the photo exhibit Walk The Night and nightlife's '90s heyday. Ron Trent grew up in Chicago, where he dreamed of being a musician from a young age. He would end up becoming one of the architects of the Chicago house sound and working alongside contemporaries like Chez Damier, and across the pond, Basic Channel. His label, Prescription Records, became a renowned purveyor of the deep house sound. He spread his vision from the American Midwest to New York, Europe and beyond. In this talk recorded live at Miami Art Week, Trent talks to Resident Advisor music critic Kiana Mickles about the songs and dance floors that shaped him in this early part of his musical trajectory. In addition to playing some of his favourite jazz, funk and disco songs, he reflects on clubs like Studio 54, Paradise Garage and The Warehouse, which he claims matured him as an artist and irrevocably shaped the trajectory of club culture. Trent was instrumental in co-curating an exhibit called Walk The Night (which premiered at this multidisciplinary event), a photographic homage to these spaces and other historic clubs around the world. To hear more about the legacy of Trent's favourite clubs and the music that shaped him, listen to the episode in full.

Get familiar with Southeast Asia's myriad forms of maximalist dance music. Around Asia-Pacific, more producers and DJs are experimenting with popular music. From Vinahouse in Vietnam to dangdut in Indonesia, these interpretations of happy hardcore, house and gabber have traditionally been played out in taxi cabs, cybercafes and other public spaces but they're now increasingly being heard on the club circuit amid demand for culturally authentic sounds. Embraced by the likes of Manila Community Radio, Gabber Modus Operandi and others, these hybrid styles of high-BPM rave are part of a global movement championing local dance music—just look at the meteoric rise of South African and Afro-Portuguese genres like amapiano and batida. Since 2018, London collective Eastern Margins has been playing out music from North and Southeast Asia at parties in an effort to educate audiences on the region's diverse landscape of fast-paced club tunes. Speaking to Resident Advisor's Nyshka Chandran, cofounder David Zhou, AKA LUMI, dives into the cultural context behind Southeast Asian genres like budots and manyao, explaining their connection with contemporary rave music and the self-sustaining ecosystem behind their popularity at home. Listen to the conversation in full.

This panel live from Wire Festival examines the insidious costs and possible solutions for a problem that continues to mire touring DJs. Artists applying for a US artist visa face multiple obstacles: application fees of up to 6,000 USD, long wait times and lack of insurance or accountability should their visas be denied. What's more, the process must be completed every few years, ushering in a new cycle of potential roadblocks. In this panel recorded live at Wire Festival in New York, moderator Tyler Myers—Wire Festival's co-director—talks to Téa Abashidze, the booker and co-founder of Basement; David Amar, the co-founder of the International Artist Assistance Agency Fanfare; and Joe Sigmund, a partner and senior agent at the booking agency Surefire. Together they discuss how the process's prohibitive costs impact the electronic music ecosystem and homogenizes lineups. They also explore ways forward, including the power of musicians unions and nonprofit organizations to help engineer a more equitable and sustainable path for our scene. How do other countries, like Canada, deal with artist visas? And what happens when the US government raises visa application fees further, as was proposed in a recent push for tightening legislative change? Resident Advisor and Basement will be looking at this issue in more detail in 2024. In the meantime, listen to the episode in full.

With their soulful vocals and melodies divas bring themes of love, acceptance and power to the dancefloor. Kikelomo talks to someone who brings the same energy to their sets: fka.m4a. Plus: A campaign in the UK to stop the use of rap lyrics and videos as evidence in criminal trials, an AI model that can understand and identify South African languages, and streaming platform Nina Protocol launches an editorial arm.The Week is a production by Telekom Electronic Beats and ACB Stories.Host: KikelomoWriters for this episode: Aaron Gonsher and Helena SchmidtEdit and sound design: Marc ÜbelLead Producer: Isabel WoopFollow Kikelomo.Follow Electronic Beats.Follow fka.m4a.Check out Art not Evidence.Read the feature in Resident Advisor by Carlos Hawthorn. Hosted on Acast. See acast.com/privacy for more information.

"DJs don't hit their stride until their 40s." The DJ and creative multihyphenate discusses maturing as an artist, having a family and navigating the worlds of contemporary art and cuisine. Resident Advisor has followed Detroit native Seth Troxler's DJ career since the beginning. And on his first appearance on the RA Exchange, he is in his domestic bliss phase, living with his wife and kids in his new home of Zürich and partying at least a little less—and only on the weekends. Since taking the house and techno scene by storm in the late '00s, when he was still in his teens, Troxler has become one of the most famous DJs in the world, known almost as much for his jokester personality and party antics as his craft. But the public image belies the skill behind his work: he's one of the most popular artists in the world simply because he's also one of the best, able to string music together almost preternaturally, as if he was born to do it. You never know what kind of records he's going to play—sometimes he doesn't, either—but you can count on it being a journey worth taking. These days, Troxler isn't putting himself through the wringer like he used to, but he has his moments. Before this interview with RA music critic Andrew Ryce, he played New York, then Miami, then New York again, then Toronto, all in the span of one weekend. He opened up about his more responsible lifestyle, his family life and his love of food, as well as his passion for pairing art and technology and his hopes for a lasting legacy.

Last month, with Goldie's guest curatorship of Resident Advisor, we focused on the history of one of the most important music genres and scenes to come out of the UK: drum & bass. With this RA Podcast from Kasra, we switch over to the style's cutting edge. He's probably best known for his long-running Critical Music label, whose name is instructive. You'll find some of the most essential, crucial drum & bass of the last two decades through its 20-plus year-old back catalogue. As a DJ and producer, Kasra embodies everything great about Critical and its approach: drum & bass with flair and personality, forward-thinking while staying true to the roots of the sound. The kind of music he plays is wide-ranging, but it usually leans towards the tight and minimalist. The basslines stop and start like stuck engines, drums hit with the mechanical precision of a Swiss-made watch, the MCs move with a tactical flow. Kasra's RA Podcast is a blend of new and old cuts from the likes of Skeptical, Halogenix, Break and the boundary-breaking Ivy Lab, plus a few cuts from the man himself. @kasra-critical Read more at https://ra.co/podcast/910

★ SUPPORT: https://dsokolovskiy.com/patreon/ Get early access to the videos, exclusive podcast feed, my full discography, mixes archives, and more! 🎓 FREE ADVICE SERIES: https://dsokolovskiy.com/advice/ https://dsokolovskiy.com/advice/ask/ Read over a hundred free articles that I have written about the music industry, production, DJing, and marketing. Feel free to ask for advice too! 👋 CONNECT: Website and blog: https://dsokolovskiy.com/ YouTube: https://youtube.com/daniellesdenofficial SoundCloud: https://soundcloud.com/daniellesden Instagram: https://instagram.com/daniellesden/ Telegram: https://telegram.me/daniellesden Facebook: https://facebook.com/daniellesden/ Resident Advisor: https://ra.co/dj/daniellesden ✉️ BOOKING & BUSINESS INQUIRIES: Get in touch: https://dsokolovskiy.com/hey/ Press pictures: https://dsokolovskiy.com/press/ 🎙 RAVE PODCAST: Rave Podcast is a radio show hosted by Daniel Lesden, bringing you the best of high-quality underground music since 2011. It's broadcast on DI.FM and showcases some of the finest Progressive, Trance, and Techno. https://ravepodcast.com 🎵 TRACKLISTING: 00:00 Roby M Rage — A Quiet War (Original Mix) [Oscillator Music] 06:15 Ness — Flesh Of The Gods (Original Mix) [Navigare Audio] 10:37 Gabriel D'Or & Bordoy — Eternal (Original Mix) [Dynamic Reflection] 14:28 Sigvard — Catalyst 04 (Original Mix) [Nebulon] 16:56 Incolumis — Angelic (Re-Master) [JOOF Recordings] 22:52 Luis Weyers — Treibsand (Original Mix) [Drehmoment] 26:46 Svarog — Urbanism (Angelo Stasi & ØTi Remix) [Selected Records] 29:49 Obscure Shape, Shdw — Geburt Der Erde (Original Mix) [From Another] 33:29 Ferdinger — St. Nimmerlein (Original Mix) [Life In Patterns] 37:21 Elad Magdasi, Ferdinger — You Are Not Alone (Original Mix) [Front Left Records] 40:04 Rove Ranger — Millennial Millenium (Original Mix) [Lobster Theremin] 44:28 Anne — Off Grid (Original Mix) [Soma Records] 47:10 Schacke — Met Her At The Herrensauna (DJ Ibon's Club Mix) [Interstate] 50:04 Yes Stanley — Oral-B (Original Mix) [Peace Tomorrow] 52:50 Regent — Coral Knife (Original Mix) [Mutual Rytm] 55:55 Regent — Quartz (Original Mix) [Arts]

"I don't complain, I create." The house DJ talks about her new multi-platform project, Honeyverse, and using music as a way to celebrate the Black queer community. Honey Dijon is a queer house music icon whose reputation precedes her. Originally hailing from Chicago, she grew up experiencing the city's nightlife, eventually beginning to DJ and produce alongside contemporaries like Derrick Carter, Mark Farina and other artists who shaped the Chicago house music canon. Throughout her career, she's been an active spokesperson for trans rights and a champion for the BIPOC community, and last month she put on her greatest platform for queer Black culture to date: Honeyverse. The multi-platform Honey Dijon experience took place at London's Southbank Centre, bringing club nights, live sets, orchestras and intimate conversations together in a takeover that drew its inspiration from her roots in Chicago's Black queer community. In this RA Exchange live from Southbank Centre, Honey Dijon talks to Josh Caffé about her connection to house music, an art form made from rejection and thus marginalised in the annals of music history. Her work, she says, is about giving visibility to the voices that were lost in its development and creating a more expansive platform for queer artists from the Black and Latinx diaspora. "This is a celebration of love, joy and acceptance," she says of Honeyverse. Listen to the episode in full, and watch video snippets of their conversation on Resident Advisor's Instagram and YouTube.

Ted Davis is a journalist. Ted is a writer, music editor, DJ, and musician from Northern Virginia. Ted is a columnist for Bandcamp Daily and his work has appeared in Rolling Stone, NPR Music, Pitchfork, Stereogum, Billboard, MTV News, SPIN, Resident Advisor, Paste Magazine, Reverb, FLOOD Magazine, Aquarium Drunkard, and honestly I find all his work on Twitter. Ted is also a freelance copywriter and writes bios for creative people across a variety of mediums. Going back to Twitter, I love all of Ted's Tweet's he's very caring, thought provoking, thoughtful, compassionate, and real. If we love Jim Davis, we'll love Ted Davis. Please welcome Ted Davis to Wear Many Hats. twitter.com/tddvsss ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/wearmanyhatswmh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/rashadrastam⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rashadrastam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wearmanyhats.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Ep.167 features Ayana V. Jackson, (b. 1977 in East Orange, New Jersey; lives and works between Brooklyn, NY and Johannesburg, South Africa) she uses archival impulses to assess the impact of the colonial gaze on the history of photography.  By using her  lens  to deconstruct 19th and early 20th century portraiture, Jackson questions photography's authenticity and role in perpetuating socially relevant and stratified identities. Jackson's practice maps the ethical considerations and relationships between the photographer, subject, and viewer, in turn exploring themes around race, gender and reproduction. Her work examines myths of the Black diaspora and re-stages colonial archival images as a  means  to liberate the Black body.  The various titles of her series nod to the stories she is reimagining. Jackson often casts herself in the role of historical figures to guide their narrative and directly access the impact of photography and its relationship to the human body. Jackson's work is collected by major local and international institutions including The Studio Museum in Harlem (New York, New York), The Newark Museum (Newark, New Jersey), J. P. Morgan Chase Art Collection (New York, New York), Princeton University Art Museum (Princeton, New Jersey), The National Gallery of Victoria (Melbourne, Australia), The Museum of Contemporary Photography (Chicago, Illinois) and the Bill and Melinda Gates Foundation (Seattle, Washington). Jackson was a 2014 New York Foundation for the Arts Fellow for Photography and the recipient of the 2018 Smithsonian Fellowship. In 2022, Jackson founded Still Art, an artist residency program focused on emerging Southern African contemporary artists of all disciplines in Johannesburg. In April 2023, Jackson opened her first major institutional exhibition at the National Museum of African Art - Smithsonian Institution. Photographed by Andile Buka. Courtesy of Mariane Ibrahim Artist https://www.ayanavjackson.com/ Mariane Ibrahim Gallery https://marianeibrahim.com/artists/27-ayana-v.-jackson/works/ Smithsonian https://www.si.edu/newsdesk/releases/deep-wake-drexciya-ayana-v-jackson-opens-april-29-national-museum-african-art Smithsonian Magazine https://www.smithsonianmag.com/smithsonian-institution/meet-the-inhabitants-of-the-mythic-world-of-drexciya-180982287/ Washington Post https://www.washingtonpost.com/arts-entertainment/2023/05/17/national-museum-of-african-art-from-the-deep/ Andy Warhol Foundation https://warholfoundation.org/grants/archive/from-the-deep-in-the-wake-of-drexciya-with-anyana-v-jackson/ The Guardian https://www.theguardian.com/artanddesign/2023/may/09/from-the-deep-drexciva-smithsonian-washington Bomb Magazine https://bombmagazine.org/articles/a-conversation-between-ayana-v-jackson-and-brad-fox/ Art News Africa https://artnewsafrica.com/from-the-deep-ayana-v-jacksons-immersive-aquatopia-exhibition-honors-survivors-and-envisions-a-resilient-future/ The Art Newspaper https://www.theartnewspaper.com/2023/05/09/smithsonian-national-museum-african-art-ngaire-blankenberg-resigned Elephant https://elephant.art/double-encounter-john-akomfrah-and-ayana-v-jackson-interview-each-other-10082022/ Ocula https://ocula.com/magazine/art-news/fnb-art-joburg-partners-with-smithsonian/ Katherine E. Nash Gallery https://cla.umn.edu/art/news-events/news/picture-gallery-soul Aspire https://www.aspireart.net/auction/lot/76-ayana-vellissia-jackson-united-states-of-america-1977-/?lot=11964&sd=1 Montclair Art Museum https://www.montclairartmuseum.org/Charting-Path Georgetowner https://georgetowner.com/articles/2023/05/18/from-the-deep-afrofuturistic-aquatopia-at-national-museum-of-african-art/ DJ Mag https://djmag.com/news/drexciya-inspired-immersive-exhibition-deep-opens-washington-dc NGV https://www.ngv.vic.gov.au/ayana-v-jackson-intimate-justice-in-the-stolen-moment/ Resident Advisor https://ra.co/news/79053 FashionEVO https://fashionevo.style/tag/ayana-v-jackson/

Lunes 10 de julio de 2023 Ya esta disponible MEDELLIN TECHNO PODCAST 171 Presentado por: DERAOUT Invitado: Sebastian Daza ________ Soundcloud: www.soundcloud.com/sebastiandazadj/ Facebook www.facebook.com/djsebastiandaza/ Resident Advisor www.residentadvisor.net/profile/sebastiandaza Mixcloud www.mixcloud.com/SebastianDaza/ ___ Design: www.boldbravestudio.com Subscribe to listen to Techno music, Tech House music, Deep House, Acid Techno, and Minimal Techno for FREE.

Hear from two people who knew Amanda years ago - before the blog, before Lisa and Steve - back when she was a college student and Resident Advisor. What was she like during her time at San Jose State? And what exactly was she doing? Be prepared!  Scamanda is a Lionsgate Sound podcast: http://lionsgatesound.com Hosted by Charlie Webster. Listen to another Lionsgate Sound podcast hosted by Charlie Webster, Died & Survived: https://link.chtbl.com/diedandsurvived?sid=sc Learn more about your ad choices. Visit megaphone.fm/adchoices