Going to an EDM show is already self-troll of sorts, but it helps if the DJ has contempt for the crowd too. Hope you brought enough “molly” pills to ride this one out!
This woman showed up at a Keys N Krates show in Tampa over the weekend with intent to get naked and get onstage, and her mission was wildly successful. After mounting the stage (right at the drop, duh) and bouncing to furious applause, she managed to dodge the group's tour manager, crawl under the decks, and emerge to jump on a DJ's back while he was still spinning.
Being an EDM DJ is definitely a cool job. You get paid tons of money. You get to travel the world. Also, doing drugs is basically part of your career. But sometimes you can probably do too many drugs and all of a sudden you find yourself in front of hundreds of thousands of people as deafening music blares and hoooooly shit whaaaaat is happening.
The vehicles lined up six deep down both sides of the arena. The news trucks along Flatbush Ave., their satellite antennas towering over the street lights as the sun dipped. The ambulances along Atlantic Ave., uniformed EMS milling about smoking cigarettes. Only one group expected anything to happen.
Last night, the U.K.'s BBC Three aired a new show called Festivals, Sex and Suspicious Parents. It's a spin-off of the three-year-old Sun, Sex and Suspicious Parents, in which parents spied on the idiotic behavior of their kids (in their late teens and early twenties) on holiday, as the Brits put it. MTV had a show like this called Parental Control, in which parents watched their kids go on dates, but ...Sex and Suspicious Parents is better because it's British and raunchier.
E.D.M. will be the death of our culture, if molly doesn't kill us all first. That is what I gathered from "Night Club Royale," the New Yorker's semi-profile of Paris Hilton's ex, producer/DJ Afrojack, who amused me so when I saw him at the Electric Daisy Carnival in 2012, and through whom writer Josh Eells gives us a good look at the entire Vegas nightclub casino scene. (Between this and the Rolling Stone Miley Cyrus profile, Eells having the best culture-writing week ever.)
Fab Morvan, the member of Milli Vanilli who didn't kill himself in 1998, appeared on last night's episode of Oprah: Where Are They Now? He was drawn to Holland "on a fashion project" and now lives there. His current musical project is called Fabulous Addiction. It involves him singing (actually singing) over generic EDM (that's "electronic dance music" if you didn't know, and if you didn't know, Morvan will tell you). He makes a good case for lip-synching.
The American Music Awards aired last night. It was every bit the waste of time that you'd expect from a ceremony that, like the Billboard Music Awards, gives out trophies based on sales and presence (airplay, streaming, social networks, etc.) but fosters the illusion that it is awarding its already awarded stars based on merit (whatever that is). Notable moments included:
"Dubstep" (or EDM) is generally terrible music beloved by America's teenagers. These children go see their favorite DJs in arenas or at festivals, where they chug liquor out of water bottles and/or take various forms of MDMA and whatever else gross adult drug dealers sell them. The problem is that teenagers don't understand how to take drugs without nearly killing themselves, which means that things like this happen at events like Haunted Coliseum at the Nassau Coliseum.
The great American pastime of reading musicians' touring demands now encompasses the current crop of electronic producer/DJs under the stylistic umbrella of "EDM." The blog EDMsnob has leaked a host of riders from the likes of David Guetta, Afrojack, Paul Van Dyk, DJ Pauly D and current Rolling Stone cover mask-wearer deadmau5. Some of these are years old, and most of them are not unreasonable at all, but there are amusing tidbits to be gleaned. Here are a few:
When people respond to modern dance music, chances are they are responding to drops. A drop happens when the beat comes back after temporarily exiting the sound design. In drop-fueled dance music, this happens every few minutes — the beat asserts itself, people freak out, their interest wanes, the song breaks down, the beat dissolves and then drops back in, asserting itself all over again, making people freak out all over again. And over and over and over again.