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Aluna

Aluna

Photo: Jérémy Paul Bali

News
Aluna On 'Renaissance' & Inclusivity In Dance aluna-new-album-renaissance-making-dance-music-inclusive-again

Aluna On New Album 'Renaissance' & Making Dance Music Inclusive Again

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"If it's good enough to be appropriated, then it's good enough to be listened to in its original form and by the original creators," Aluna recently told GRAMMY.com in a powerful interview
Ana Monroy Yglesias
GRAMMYs
Sep 1, 2020 - 11:04 am

British singer/songwriter/DJ/producer Aluna broke onto the global dance scene in 2013 as half of AlunaGeorge. Together, the U.K. dance duo headlined festivals and delivered infectious dancefloor burners like "I'm In Control," "I Remember" and a stellar cover of Montell Jordan's "This Is How We Do It" and notable features with Disclosure (2014's "White Noise"), Flume (2016's "Innocence") and other big names in dance.

Now, Aluna is in control as a solo artist and reclaiming her space as a Black woman in dance music. The now-massive genre has straight White men at its center, even though it was created by Black, brown and queer people in response to the racist disco backlash of 1979. With her debut solo album, Renaissance, released Aug. 28, she explores the roots of dance music, brings in messages of equality and empowerment and takes listeners through a journey of emotions and rhythms from dusk 'til dawn.

The "Warrior" artist has truly found her voice—not just within owning the creative control of her music, but in her online presence with weekly Aluna's Room DJ livestreams and curated playlists. In both spaces, she explores what dance music really means, highlighting producers of color and bringing in reggaetón, dancehall, Afro-fusion and more infectious rhythms of the world, questioning the media and industry's focus on White electronic DJ/producers.

In an open letter to the dance music community posted to her Instagram in June, Aluna directly calls out racism in dance and asks for more inclusive genre categorization. "When I started looking at all the challenges I face being a Black woman making dance I realized I wanted to do more than just create a space for myself—I want all black people to know that the genre of Dance is their heritage and they should feel included and encouraged to create under that banner by expanding the genre to be culturally and racially inclusive," she wrote with the post.

Ahead of Renaissance's release, we chatted with Aluna to learn more about her vision and creative process for the epic new project, as well as her mission to create a more inclusive dance music space.

https://www.instagram.com/tv/CD4scUuJK2q

GRAMMYs

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Princess Nokia Is Making Space For People Who "Don't Have A Voice Yet" In Music

Your latest track "Get Paid" comes with a very important message. Can you speak to that, as well as what it was like collaborating with Princess Nokia and Jada Kingdom on it?

I can't say that in the writing studio I had an agenda, I generally don't, but what I need to say, happens. So, I needed to sing about what it's like being a Black woman and a woman of color trying to get paid in the world. Often, my go-to is a way to create an aspirational, celebratory moment and "Get Paid" is a celebration of us getting paid. Sometimes we do get paid, but we just want more of it, we want it consistently, we want it fairly and we want it to match our worth and our contributions.

Princess Nokia is outspoken in so many different ways. She's basically the epitome of woman power, but she also stands for LGBTQIA+ rights. And she's an activist in such an eloquent way that I really wanted her input in this song to complete the picture. And we did an interpolation of a classic Jamaican dancehall song ["Heads High" by Mr. Vegas from 1998]. I've been listening to "Banana" by Jada Kingdom and I had that in my DJ set, and I was like, "Oh, she is going to finish this puzzle. She's the last piece of the puzzle to make the full, beautiful picture." When she sent in her verse, I was so emotional because it's powerful, but it's so beautiful and sexy as well. And that's so important to me in music—your flow's got to be down, along with the beauty, the melody and the words.

Like "Get Paid," "Body Pump" is such a bop, I've had it on repeat. Could you take us through the creative process of "Body Pump"—did it start with the beat, the lyrics, a concept? And how did it evolve?

Well, me and Josh [Lloyd-Watson of Jungle, who co-produced the track with her] are two really strong heads in the studio, so we spent a good few hours bumping heads, it was pretty funny. We had our egos all up in the space, we had our own ideas. It was really towards the end of the evening when we started to get going. And we started from scratch. We'd listened to a lot of music, and we were like, "No, we can't work with anything that's already started." We started to build this song, and I was like, "We're getting somewhere." We were really collaborating on every sound, every instrument, every bit of vocal, he had me shouting stuff into the mic, he was like, "Louder! Louder!" I was like, "Oh my God, this is so scary!" [Laughs.]

Then the computer crashed and we fully lost the whole song. At the time, I was six or seven months pregnant, and I was not having any time wasted. So, I was like, "I'm going to get you a bottle of wine, and I'm going to use my memory to take you through, step by step, rebuilding the entire song from scratch." And he was like, "Oh my God, I'm so happy that you are down. So many artists would have just given up and gone home." I was like, "Hell no, I'll live here, mother***er. I'm not going anywhere until this song is back."

I knew there was something about it. And some magic might get added from us redoing it. That part at the end where it goes off, the really fast clapping and stuff, came out as a mistake and we were like, "Oh wait, what happened? Let's keep it." It was a really, really fun experience.

Watch: Up Close & Personal: Duckwrth Talks Celebration Of 'SuperGood,' Respecting Black Artistry, "Insecure" & More

Was it one of the first songs you worked on for the album or where did that process begin? Where was the starting point for you with the larger album?

That was in July [2019] and I'd started working in February. I don't know what the first song is that I wrote. One of the earliest ones was "Off Guard" and "Whistle" from the album. And you can hear how open I was at that stage. When I started writing, because I'm a very versatile artist, I was like, "I can make anything. Yay. Let's go." And I did make anything, I made everything. For this record, there was 50 songs. And then I was like, "No, I'm going to make a dance record. That's what I'm going to do." I started to move in a particular direction.

"Off Guard" and "Whistle" are from the pre-directional part of the album, but I wanted to include them, because for me, an album is really a journey with a main story to it. [On Renaissance,] the main story is a dance story. For me, when you go to the club, you have this really specific period of time that you dance for. But you also have the side room where you are with a friend or a sexy partner or something, when you add that moment to your experience, you get that full spectrum. It's like the house party and you had your dance for a moment, and then we found the room upstairs where everyone was smoking and drinking and chilling and you were like, "This is amazing too." So, those songs were on the album as well. And then, it's book-ended with, I don't know, a psychedelic. I mean, it's definitely 6:00 a.m., anywhere in the world, at the end of the record. And the beginning is maybe 9:00 a.m., but it's the start of the day, the other end.

I do remember the first song I wrote. I wrote "I've Been Starting To Love All The Things I Hate" [the album's first track] way before I started to write this album. It was just a piano piece on a voice message. Then, I expanded it into a full song.

If you had about 50 songs to choose from, was it hard to cut them? What was the process of getting it down to an album, to 14 tracks?

Picking the songs took almost as long as writing them. Oh, it's agonizing. I have these full on spreadsheets and diagrams. I printed out the names of all the songs and cut them out and put them on cards so that I could mix and match. It was lots of that. Because it's a sauce, it's a big sauce and it has to have all the right ingredients in there and you can't have any missing ingredients.

Do you think you would do a B-sides or maybe sprinkle out some of the other songs after the album in some of the format?

There were some choice songs that didn't get on record. Sometimes, they were songs that would stand alone better—this is a single, a song that doesn't play well with others. There were also a few songs that were in that vein of something already on the album. So, let's not have two of them.

The album is coming out in just under a month. You've put out a bunch of music in the past, but this is your debut solo project. How are you feeling about offering that up to the world?

I'm curious to see what environment it's going to come out in. We just don't know from month to month what world we're living in. I mean, I had never planned to tour the album immediately upon releasing it. I wanted to let people sit with the music for a little while before I went on the road. But with that not on the horizon, I'm glad that I created the album in a way that I did, because it's not rave from start to finish—it will take you to that raving point and bring you back down again. So, it's really good for being in the house or being in the car and in all the environments that we're living in at the moment, which is cool.

I also feel, because everyone's indoors a lot of the time, they'll be able to listen in a less distracted environment, which for me is always a bonus, because people might listen to the lyrics, which would be fun. I don't expect people to listen to lyrics, but if they do then they'll enjoy them.

Record Store Recs: Chicago House Hero Marshall Jefferson On Representation In Dance Music

When you were working on this project and decided you wanted to make a dance album, what caused that shift?

Well, there had been lots of messages coming my way that weren't getting through the sleek barrier of fear and trepidation that I had. As a featured artist in dance, I'd kind of been a guest in that genre. I saw it as a very White genre and as a Black person, I didn't feel invited. I didn't feel like I could take that genre and do what I wanted with it as an uninvited person.

But I had been in situations where I'd seen one or two Black girls in the crowd when I was guesting on a White peer's festival show that I was jumping on to. So, I would see them. And at my shows, I would see a few Black girls waiting right to the end where I play all my dance records for AlunaGeorge. And I was like, "Okay, well, there's that." The final piece was discovering the history of dance and realizing that my feeling of being uninvited didn't make any sense. It was completely ridiculous. I still felt uncomfortable and like I was going to be doing something that nobody really wanted, but that's never really stopping me from doing anything. So, I went ahead and did it, I just needed a little bit of ammunition.

It's the proof that the feelings that you're feeling—that it wasn't just you. 

The feelings that I was feeling were based on a reality that was a lie, which, quite honestly, made me angry. It made me angry that I had to feel uncomfortable doing something that was part of my heritage and that it had held me back even for a second. And then I was like, "Quick, hurry up." Which then took me a year and a half.



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When I started looking at all the challenges I face being a black woman making dance I realized I wanted to do more than just create a space for myself - I want all black people to know that the genre of Dance is their heritage and they should feel included and encouraged to create under that banner by expanding the genre to be culturally and racially inclusive Read and share this post if you wanna see the same future for our community

A post shared by Aluna (@alunaaa) on Jun 25, 2020 at 9:00am PDT

On that note, in June, you posted your powerful open letter to the dance music community. Can you speak to what the response from within the music community so far has felt like for you?

The response has been one of curiosity. I've had quite a few different executives and people in the inner circle of DSPs [digital service providers], curious about what to do. So, that's been good. It's nice to have curiosity. I think action is going to be—I'm a big believer in embracing the chaos. I think that we need to—and we probably will—go through a period of chaos when it comes to the genre.

What I'm calling for is to shake the genre up. I'm not expecting the dust to settle for a little while. So, there's lots of different conversations about what is dance, what genres of dance have been left out of the genre, which ones should now be included, which ones are more mainstream, which ones are underground. Is electronic the main sound of dance anymore, regardless of how it's being categorized in reality? Is electronic actually a sub-genre as opposed to the main body of dance music?

All these questions are really, really fun to be asking because if I was going to invent a world, a world that is exciting and fresh and ever-changing, I don't think I would put White, straight men at the center of that world. I don't even think a White straight man would create that world. Those are the people that maybe run things, but we're talking about parties, we're talking about dancing, we're talking about culture, we're talking about unity, we're talking about festivals. When in history has a White straight man been the catalyst for that type of cross-cultural, open sexuality, joyful getting together? It just needs to be reflective of the activity of partying, dancing, unity, expression and things like that.

"This music should be put in the position where they're able to get access to the mainstream ear, because it is mainstream music… If it's good enough to be appropriated, then it's good enough to be listened to in its original form and by the original creators."

Can you give us an outline of what you called for in the letter?

I would like every platform and organization that categorizes music to reanalyze what they consider to be dance music. When they're considering that, they need to look at globally and culturally, what do people dance to? The answer is dancehall, afrobeat, reggaetón, house music and the sub genres of those as well. I think that'll go a long way in bringing people who make dance music around the world together, because at the moment it's really segregated. Really what it comes down to is the listener is being made to jump and go down the back alleys of these platforms. I consider this music to be mainstream dance music, they're not sub-sub-genres. They are sub-genres of dance, but they're not sub-sub-sub-sub-sub-sub-genres, which is where they're currently categorized.

This music should be put in the position where they're able to get access to the mainstream ear, because it is mainstream music. The evidence is in the pop songs that use those types of music as their complete fundamental foundation. The evidence is also in White producers using those beats to freshen the sound of dance music at the moment. If it's good enough to be appropriated, then it's good enough to be listened to in its original form and by the original creators.

If the dance community was happy to just live in a completely monocultured ecosystem of listening only to the Eurocentric ideal and accepted sound of dance music, then just copy it and copy it and copy it until dance music is no longer a relevant genre to anyone, then fine, but that's not what anyone wants.

What has it felt like for you so far to step out as a solo artist, and to be making your music for you and producing as well?

It's created many new dreams for me. Now, I have this dream that is feeling more and more tangible—basically, a festival/rave with Black gal ravers all over the place, not just one Black gal raver in a sea of White people, looking really out of place. I just think that would be so much fun.



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It’s been so exciting talking about this coalition over the weekend and am happy to finally share it with you guys, this is just the beginning! Big changes in the industry are in our sights so stick with us while we get to work. Swipe to the end for the full info. BLACK MUSIC MATTERS. BLACK LIVES MATTER. Real change begins now with @bma_coalition

A post shared by Aluna (@alunaaa) on Jun 22, 2020 at 12:12pm PDT

Do you have a message for young Black women and girls who are wanting to share their voice and their vision in music, but not really sure where to start or how to do that in a way that feels safe to them?

It's difficult. I try to speak through my actions. I have made dance records as a Black woman, and some of the music has been received well because it fits into the traditional dance music sound. And we shall see how this record is received, but I don't care.

What do I say to young Black girls? They're needed and wanted, and their creative perspective, their creative juices and flavors are needed and wanted.

Related: Jayda G Talks New EP, Promoting Diversity In Dance Music & Sharing Joy

I really love your Dance Renaissance playlist on Spotify. Can you talk a bit about some of the artists you've featured on it?

I've got UNiiQU3, I've got Jayda G. I've got some original creators of dance music like Mr. Fingers and Larry Heard on there, because I wanted to mix a history with the current stuff. And Black Coffee, Azari, Rema, AJ Tracey and Cookiee Kawaii. Also, Skales—"Shake Body" is one of my favorite songs. This playlist was really what I was just performing in my DJ set that week. It was an exploration, I wanted to see what a Larry Heard track sounded like alongside a UNiiQU3 or TT The Artist or Jayda G. And I was exploring Black dance artists in general.

I have a huge collection. The next thing I want to do is make a global dance playlist that really captures the hottest new tracks from around the world. Because paying homage to history is really important, but one of the things that can happen is if you only do that, you miss out on the current moment and you can't make up for that later, because those people need support right now. We need to know how hot this new sh*t is.

And honestly, COVID has been a huge opportunity for me, for my crate-digging endeavors and more. It's really, really been amazing to think about changing the landscape of the way we consume dance music, so that all of these songs I've been enjoying as a DJ will get more recognition and more respect. And be celebrated in a way that will elevate them through to pop, which I think is really important for any artists working within a genre to be cared for in that way and have that motivation.

Read More: Black Pride Anthems From Kendrick Lamar, Childish Gambino, 2Pac, James Brown & More See Big Streaming Spikes

You're so right. At the end of the day, streaming playlists have so much power. The number of streams that come from some of those top Spotify playlists is wild. It really shows how much potential there is for shifting things and for, like you're doing, changing the conversation.

Right. That job has to be done very, very carefully if you're doing what I'm doing, because this Dance Renaissance playlist is my first attempt on working on something at the moment, which is much, much more curated as a DJ. And I think that's really important when I'm showing how jersey club, dancehall, house, techno and afrobeat can live together on the dancefloor.

The reason that I know that is because I'm a Black woman, but I'm also multicultural. So, I have all of these global influences in my blood. I work in harmony with myself, so I know there's a possibility for all those things to work in harmony. I apply that when I'm selecting my songs. I'm not someone who is just trying to elevate one genre of dance. I'm an ambassador of unity, really based on the simple idea that I'm trying to create the best quality.

For me, if I go to a club and there's only one type of music playing, I can't do it. I can do about half an hour, but I can't do monocultured anything. I'm just not that person. Myself and the future of our world is getting more and more multicultural. We can all be fighting against each other, but behind the fight, everyone's having sex and making babies, by the way. And they will multicultural. It's inevitable. I'm creating the music for those kids to feel comfortable listening to.

Dua Saleh & Psymun Talk Minneapolis Community Building, 'ROSETTA' & Music For Social Change

BLOND:ISH

BLOND:ISH

Photo: Courtesy Of The Artist

 
News
BLOND:ISH Is Living In The Present blondish-finding-real-community-twitch-staying-present-remixing-foreigner-fela-kuti

BLOND:ISH On Finding Real Community On Twitch, Staying Present & Remixing Foreigner & Fela Kuti

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GRAMMY.com caught up with the lively DJ/producer to chat about her latest music, finding inspiration in the present moment, advocating for sustainable parties with Bye Bye Plastic and more
Ana Monroy Yglesias
GRAMMYs
Nov 23, 2020 - 8:47 am

Vive-Ann Bakos, a.k.a. BLOND:ISH, is a vibrant being who creates joyful soundscapes and spaces for all to dance and play in. The Canada-born, Los Angeles-based DJ/producer has been a global force in the underground house music scene for the past decade-plus, which is fitting for someone whose sets take you on a journey with rhythms from Colombia, Nigeria, Berlin and beyond. While she's played major clubs and festivals around the world, including all over Tulum, Mexico, Miami, Ibiza, Spain and at Coachella 2019, it's perhaps her Burning Man sunrise sets for which she's most beloved.

Now, with the global shutdown of 2020, Bakos has brought her sunshine personality, love of collaboration and joyful music to the world via Twitch with AbracadabraTV. Every week, fellow artists and dance music lovers gather virtually for the lively music from resident and rotating artists on "Magic Saturdaze," as well as yoga, meditation and music during "Self Love Sundays."

Collaboration and connection are at the core of her ethos. Her label, Abracadabra Records, launched in 2018, is another expansion of the BLOND:ISH universe. 2020 releases on Abracadabra have included the Troublemakers Vol. 1 compilation EP and two-track EPs from Canada's Gab Rhome, Paris duo and AbraTV regulars Chambord, Greece's DSF and others. Look out for a new single from the label maestro herself on Dec. 11: a mystical house collab with Rowee called "Garden Of 3Den."

And with Bye Bye Plastic, also created in 2018, Bakos is paving the path for a more sustainable global community with plastic-free, environmentally friendly guidelines for dance music events and festivals.

GRAMMY.com caught up with Bakos to chat about her latest and upcoming music, finding community online, sustainability, collaboration and more.

 
Your birthday just passed. Happy birthday!

Thank you.

I'm a Libra, too. I'm sure you know, Libras are known for being social, diplomatic, creative and other fabulous things. Do you identify with these qualities? And how do you feel being a Libra influences your creativity in your art and your music?

I didn't know that Libras are creative. My girlfriend's looking at me like, "You knew that." [Laughs.] But no, I just do my thing, you know what I mean? I didn't realize that it was potentially a Libra thing. Today, I was walking on the streets, I'm just really inspired by my surroundings. I was walking around New York and [there are] so many inspirational quotes and stuff everywhere. And I'm just so inspired by all that. I could be in Egypt, walking into a hotel and the door's creaking, and I get inspired by that sound and I'll record it. So it's really random for me. I didn't know it had to do with Libras.



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A post shared by BLOND:ISH (@blondish)

So, you're sort of constantly amused, entertained and inspired by the world around you?

Yeah. I was hanging out with a lot of kids during quarantine. And I was making songs about plastic and poop and stuff. It really depends who I'm around.

Earlier this year, you officially released your fun remix of Foreigner's "I Want To Know What Love Is," the only remix they've ever approved. Can you talk about the journey behind the remix?

It was a long journey. Every year at Burning Man, I try to make a special edit for those sunrise moments. And I like it to encapsulate that feeling of being completely free—and the sunrise—in the middle of the desert with your best friends. It's just the best moment ever that exists, so I like to make an edit for that moment. Somehow, Foreigner came on and it's a super cheesy track. For some reason, I thought it would be good for Burning Man because it would encapsulate that moment. I thought it was risky because it was so cheesy, but then I realized, "It's OK, let's take that risk." And I made the edit because it was really fun to play with it and to replay the basslines and stuff.

When I played it, it was one of the last tracks at the Robot Heart set and, literally, hundreds of people took videos. And I realized after I played it that, "Wow, this is actually a track that people really connect with. And it brings back people to so many different memories." So I was like, "I want to release this. How can we do it?"

We tried so many different routes. I got a lot of nos: "No, they're not going to release it." It's not even [from] Foreigner—I was even asking my friends, "Who knows Foreigner?" And I had a bunch of friends who knew that was someone's dad or someone. So we got connected with them and they said, "Yeah, we would love to release it."

But at the end of the day, they don't own it, so we had to get the publisher to release it. And sometimes these are just people sitting behind a desk. They don't really understand. It was an edit, right, it wasn't a complete super remix. And I think some of those A&Rs, they need some EDM remix or something to make it valid. I don't take no for an answer; I just try to find another way. I think that's great advice for people, is if you hear no, just find a different way, potentially. And yeah, finally we got to the right person and we got a yes, and we got it released officially. It took a year and a half.

What's one of your other favorite edits that you've done for Burning Man over the years?

What did I do? I don't even remember. I'd have to check my computer and check my tracks. My girlfriend's like, "Do you need help?" My brain doesn't work like that. I'm so focused on the present or the future; whatever happened in the past is passé.

What are some of the ways that help you stay present or grounded? How has being present in the moment become so natural for you?

Morning rituals, for sure. Morning meditation to start off the day. It's best, when you wake up, to stay away from those distractions as much as possible. So stay away from your phone and laptop. I mean, it's really obvious advice, but it grounds you for the day. It sets up your day in the right direction.

I try to do my morning rituals as much as possible. I try to do some yoga, stretching or Pilates in the morning. I would love to get more into Qigong; right now, that's calling me. I've practiced it, but I don't have it in my daily practice. You know when you just get those downloads? I got that download, I just haven't pressed play yet. And literally, honestly, I try to stay present. I turn off all my notifications and all that stuff. I don't even use Facebook. Have you seen The Social Dilemma?

I still need to watch it, but I've heard good things.

Yeah. Watch Social Dilemma and My Octopus Teacher. I mean, those are two totally different documentaries, but very important for understanding the idea of presence. So even just walking around New York—when I'm walking on the street, I am just listening to the sounds and observing people. And that's also presence, but in a different way. So simple things like that, just being aware.

That's so true. And you're right, it is technically simple, but I think we're so used to being on our phones.

Yeah, for sure. So the whole goal is to get more in your heart, into where your second brain lives, your intuition, which is near your solar plexus. And right now, as humans, we're so in our heads, which is just really top layer, where we're constantly distracted. And that's the furthest away from our true essence. So it's about turning those things off so we can get deeper into ourselves.

Abracadabra TV · Fela Kuti - Mr. Grammarticalogylisationalism Boss (BLOND:ISH Remix) (ABRA006) [clip]

You've remixed a lot of great tracks and a lot of really different stuff—Fela Kuti, Black Coffee and Kaskade with Sabrina Claudio, to name a few. How do you typically approach a remix? And what do you feel is the BLOND:ISH touch?

[Laughs.] Honestly, if I like the track, [I'll remix it]. Fela Kuti is such an inspirational character in so many ways. The BPM was so hard to work with on that track, but I was like, "F*** it," because it has such a positive message and he's such an incredible human being that I was inspired by that. And also the whole idea of Africa and the drums; that inspired me.

And then for the Sabrina Claudio remix, they were like, "Oh, they want to release it in two weeks. Can you do a remix in a few days?" And this was at the beginning of quarantine, when there were no clubs, nothing. I was just at home quarantining. And I thought, "The only place you can really listen to music is at home and in your car." I was inspired by the fact that people like to escape from their house and go take a joyride in their cars, so I wanted to make a remix that sounded good in a car. Also, it's that kind of thinking, what's relevant to me in that moment.

I'm working on a remix right now for Christmas. Universal's doing some sort of Christmas album, so I'm remixing an old Temptations track. I remember the Temptations because my parents used to listen to them, and I'm inspired by those really nice basslines they had. I was listening to music all over the house, so I'll make it sound like something you'd like to listen to in your home.

I love that. BLOND:ISH beyond Burning Man, beyond the club.

That's great. Actually, that's a good tagline. I like it.

What's your favorite part about collaborating with other artists?

My favorite part of collaborating is the unknown, where it's going to go. It's like at Burning Man. The reason why Burning Man is so special is because everyone is coming there, sharing their passion or their arts. You'll have the Orgasmatron and then you'll have someone that's really inspired by, I don't know, bourbons or tantra. And they're all living, camping beside each other, and they're interacting. From there comes all the spontaneous moments. That's what art is. It's mixing two creative people.

If you draw two circles, each circle is a collaborator. And there's a part of them that overlaps, and that overlap is unknown. That, to me, is where the magic happens. That's why I love collaborating with other people because you don't know what's going to come out of it. You trust the process because you love what they do, you collaborate with people that you respect and that you're inspired by. So out of the collaboration, new things are born. And you had no idea, you just trusted that process.

Obviously, Burning Man didn't happen this year due to the pandemic. It was just in our hearts. In its absence, what element of magic from the Playa do you feel society could use most right now?

You don't feel lonely at Burning Man. No matter where you are on the Playa, you just feel together; it's one unit. And [there are] 80,000 people there. You feel you all have similar goals and it's all positive. I'm generalizing, but it's really that togetherness, the unity feeling, I guess. And right now, in this world, I'm very optimistic, but things feel so f***ed up and like there's no way out. I hate to say that, but at Burning Man, you don't feel that. You feel everything is going to be OK and that we're all in this together. I feel that's definitely what we can use in this world right now.

I feel like I live in a bubble and I want to make this bubble the size of the world so every human can really feel that freedom and happiness. It's one of our rights. That's what we're trying to do with AbracadabraTV on Twitch and stuff. We're really building the community that way so that they get all those positive reinforcements and those tools. And happiness, ways to feel happy, and music. We go live on Saturdays and Sundays on Twitch, and when we're not live, there's a community gathering on our Discord. There are all sorts of different channels on our Discord: There's a general channel, one on music, on weed, all our different interests. And we talk there when we're not live, so we're still hanging out.

That's where we share a lot of mindful practices, just to hit the messages [from the Twitch programming] home. I've noticed that a lot of people introduce themselves and share they are having mental health issues. And they really find Abracadabra to be a safe space where it actually brings them a little bit of breathing space, out of their mental health issues. I'm all for helping with that.

Wow. That's really powerful. With AbracadabraTV and everything you're doing on Twitch, what has it felt like to have that space to share your music and your message while not being able to do live events and to connect with people in person?

It's such a breath of fresh air. Because if this never happened, I would have never discovered this. I'm so grateful to have discovered it and to actually witness it. Being so connected to the community when I'm playing live—listen, it's amazing, that feeling. And I know DJs miss it very, very much. But honestly, when you're playing a gig, you don't interact with the crowd. You can't get instant feedback. Twitch has chat, which is instant feedback. You can basically have a conversation with your community while you're playing. The conversations they are having online can dictate how your live set progresses and evolves. So it's super cool. The community has never been able to speak with the artists while they're DJing or be connected so closely. That's been an amazing discovery during—whatever this is called—2020.

The thing that is 2020. In addition to the weekly Twitch content, you also hosted the two virtual Abracadabra Festivals. What was the most fun part of the fests for you?

The most fun part, honestly, was being live in the studio in L.A. with the production team, and Channel Tres, Paris Hilton, Diplo, everyone coming through. And everyone just being happy to be a part of it and to be a part of that bigger message. The second festival, we decided to do 80 hours—I don't know why—in a row. It was very exhausting.

But when we were in the studio and everything was just running and we were live and there [were] millions of people watching, I was like, "Wow, it was all worth it." And then getting the feedback from people from all around the world, friends and people that just discovered us. And again, I got that sense of unity for a second. And unity, if you want to backtrack, is one, right? And so this presence, everyone being completely present, also equates to unity as well—they're all in the same space.

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I've experienced those moments on Twitch where the chat is really fun, the music is really good and I'm dancing with my cat. I never expected a livestream or the internet to be a place where I could really feel present.

The one vibe.

Yeah, it's cool.

It is, right? I'm trying to show the other DJs. Because there's a bunch of DJs that are really not into streaming at all and everyone's different, of course. But I have a feeling that a lot of DJs just haven't gotten that experience, of the chat on fire and all the goodness, of that one vibe on Twitch.

I wonder what the future looks like when we're able to gather again at festivals and in clubs. It would be really interesting to see if artists do more livestreams, where people that can't physically come to the festival can still feel like they're a part of it, too. Do you have any idea of what you'd want to do?

Want me to tell you the future? I'll tell you how it is going to work. So physical events are going to come back. And you have the people that buy tickets and will be there. But you also have another layer, the livestream component. So you have another revenue stream now, where you're going to be selling tickets to the people around the world. For instance, Tulum is open in January, as of now, so we're planning a physical event, obviously reduced capacity, and we're also planning a livestream. So we're going to sell tickets to that as well, for the people that can't be there because many people are not going to travel to Tulum this year, especially from Europe and stuff.

And then, VR is actually getting a huge push because of COVID, and it's all these different worlds. You can come as an avatar to the event; we can build an Abracadabra world in VR. And with a drone, you can control cameras at the event. There are all sorts of different experiences you can have around this one event. And [there are] also ways that—we haven't figured this part out yet, but we're working on it—the audience at home will be able to interact in the physical event somehow.

Read: Bye Bye Plastic: BLOND:ISH, Annie Mac, Eats Everything & More Advocate For Eco-Friendly Parties

To the point of raving in person again, I want to talk about Bye Bye Plastic, because if we want to keep partying, we need to do it in a way that's sustainable. Can you talk about how you are approaching sustainability at events? I'd also love to hear about the initial experience of getting a bunch of DJs on board with the Eco-Rider?

Yeah. I mean, we're trying to just produce the least amount of waste as possible and also being conscious about any fuel we're using to minimize the footprint. We think about the whole circularity of the sustainability process—any waste we produce, what are we doing with each and every thing. Like cigarette butts, where are they going after we collect them? And the compostable cups, where are they going? There isn't any plastic at our events, but even if [there are] bottle caps ...

At our last Tulum event, there was something little that was plastic, and we made sure to repurpose everything. We always make sure it goes to the right place. Even when we do a beach clean, we don't just put the plastic in a recycling bin. We figure out where it's going and make sure it's processed properly because the waste management systems are not trustworthy right now, so we handle it all ourselves.

So [there are] a lot of things that happen in the background with the beach clean. It's not just you show up at the beach, pick up some garbage and that's it. We take inventory and we distribute it properly, so it's upcycled. There's a really cool machine that they've developed in Tulum called Petgas that we're working with. Basically, you can throw any grade of plastic in it and it creates some sort of clean fuel. It's a great collaboration because that will create wealth for the locals.

And your question about the DJs—I mean, listen, I had an assistant last year when I had extra cash. And we had this strategy where it was like, "OK, well we know all the agents, managers, DJs and business. Let's reach out to every single one of them. Let's start a movement." We spent six months getting everyone situated and organized, and then we did a viral push with the video. And that was that. Now we're expanding with more DJs. And working with more agencies and artist houses that have a lot of DJs, so you get 50 artists at a time, not one by one.

I don't know how many times I've wanted to cry leaving an event and walking over crumbled plastic water bottles. The plastic-free Eco-Rider is so smart and seems so common sense. But it is different than the status quo. Were people excited about it?

Yeah, totally, people are excited about it. But then there's a lot of work that's babysitting, basically. When you go to a gig, the DJ doesn't really have time to make sure about all that stuff. So the logistics team, or whoever's helping with the gig, needs to make sure a week before—there's a whole bunch of steps to take care of in the babysitting process.

Right now, there are people doing parties at home, safely or however they're doing it. We want to create a culture of people not buying the red plastic cups, so we're creating a guide for the U.S. of what the alternatives are and how to do a plastic-free event for small private parties and stuff. I noticed people just don't know what to get.

Can we talk a little bit about your label, the other side of Abracadabra? What do you look for in an artist or a release for it?

Well, this is changing right now. Typically, we had a certain vibe, but now there are a lot of artists that come through ABRA TV that are super, super talented and have different styles. It's not just about a genre anymore, it's about the message. So we're expanding that horizon to a positive message with the music.

What BLOND:ISH releases can we expect in the next couple of months, beyond the amazing Christmas track you mentioned?

I did a remix for Sony of [Ethiopian singer] Aster Aweke. It's a really emotional track. You don't understand the words [unless you speak Amharic], but when you feel it, you get the emotion out of it. It's another super cool car track to listen to in your car or dance to in your backyard. That's coming out next. And then I have a release, an original track, with a female vocalist coming out on Spinnin'. It's called "Waves." I don't know when it's coming out though, but probably in a month or two.

And what vibe is "Waves"?

It's very vocal and [features] a lot of piano chords. When you hear the piano chords, it just instantly makes you smile. That kind of vibe.

Brandon Lucas Talks Staying Hopeful, Working With Dr. Cornel West & Empowering Dance Producers Of Color

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Soul Clap DJ set during Rave The Vote

Soul Clap DJ set during Rave The Vote

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Soul Clap Wants You To Rave The Vote soul-clap-wants-you-rave-vote-2020-election

Soul Clap Wants You To Rave The Vote This 2020 Election

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The second episode of Rave The Vote, which kicks off today, Fri., Aug. 14 at 12:00 p.m. PST/ 3:00 p.m. EST, serves up half a day of house music and voter education. The final two events will go down on Sept. 11 and Oct. 2
Ana Monroy Yglesias
GRAMMYs
Aug 14, 2020 - 9:08 am

With the 2020 Presidential Election less than three months away during an unprecedented pandemic, voter education and access is an urgent issue. Enter Rave The Vote, an online voter registration and education initiative ignited by four 12-hour virtual raves filled with educational segments and music from DJ Jazzy Jeff, DJ Pierre, Aluna, Marques Wyatt, TOKiMONSTA, SOFI TUKKER, Carl Craig, Seth Troxler, Desert Hearts, Louie Vega and many more names in the underground dance scene. Viewers are encouraged to register to vote, check their registration status and/or request an absentee ballot, all of which can be done on their website.

"Rave The Vote was created in an effort to mobilize the dance music community to register to vote and get to the polls. We know the wider community is both passionate and engaged, and encompasses a key demographic of voters that should not be overlooked. It's clear that we are all searching for ways to contribute to see significant change, to move towards the America we want to live in—and we can't do that if we're not exercising our right to vote. Ultimately, we aim to motivate viewers to use their collective voice to bring about change, and to educate them on the various ways to take action," Carré Orenstein, the executive producer explained over email.

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"We are in the most important election of our time and people are finally starting to pay attention! Electronic dance music and the culture that surrounds it was founded in a space where people came together to celebrate music and each other, it was and has always been a safe haven for many, myself included. It originated with Black roots and eventually became a space where people felt free to express themselves no matter who they were.  Our goal here is to re-catalyze a space and community that has such powerful and strong roots of unity, love and freedom. To get them engaged, and to the polls!  We have been blessed to welcome a diverse and beautiful collection of artists to represent Rave The Vote and the American dance music community. I have worked in this industry for the past 10 years and our lineup is far and away one of the most diverse I have ever seen in this culture on this level. It represents our country in its true heart and soul," Tadia Taylor, director of artist relations, added.

Supported by Orenstein, Taylor and a mighty team of fellow industry professionals, the ringleaders of the epic dance party for good are Eli Goldstein and Charlie Levine, a.k.a. Soul Clap, a funky-house vinyl-spinning DJ/producer duo formed in Boston in 2001. With their energetic DJ sets at clubs and festivals around the world, eclectic and talent-filled Soul Clap Records and overall joyful demeanor, the pair has been widely disseminating joy and great tunes and sharing the love with fellow funky artists for quite some time. Now, with Rave The Vote, they're helping ensure the dance community is civically engaged and present at the upcoming election.

We recently caught up with the beloved duo ahead of the second episode of Rave The Vote, which kicks off today, Fri., Aug. 14 at 12:00 p.m. PST/ 3:00 p.m. EST, serving up half a day of house music and voter education. The final two events will go down on Sept. 11 and Oct. 2. You can tune in on the LostResort Twitch and YouTube channels, and RSVP at Rave The Vote's website to stay looped in to all things related to getting out your vote. Make sure to read on to hear from Goldstein and Levine about the original vision for Rave The Vote (hint: It was IRL), why political engagement is so vital to democracy, being an ally and more.

Let's start with the spark that led to the creation of Rave the Vote. What was that and where did it lead?

Goldstein: Well, I mean, I think we both voted in every election since we were 18, so we've always been active in that kind of politics. But I think, as we've gotten a little older and further along in the music thing, we just had more of a desire to use our platform for positive change. We do a lot of work with an organization called DJs for Climate Action, which is all about educating DJs and getting us to use our platforms for education and positive change around climate.

This year obviously feels like a really, really important election and has for a while, for the last three years. Until someone's in the White House that acknowledges things like climate change, social justice, equality and these kinds of things, we can't really make much progress, or we can't make enough progress with all the other activism.

We had an idea to do a voter registration drive. It was originally going to be a real live tour around the Midwest, hitting swing states, going to colleges and clubs in Ohio, Michigan, Iowa, those kinds of places. We had been planning it since last year, but obviously we had to pivot quickly when everything got canceled and we realized that IRL events would not be happening.

Luckily our manager, Jonathan McDonald, got really excited and put together, with people from Infamous PR and others who put in so much effort to take this into a huge online livestream concept. It's been really exciting. And I think we are reaching a lot more people than we would have just with the IRL.

Levine: This is definitely one of Eli's ideas. He's very politically minded and tuned in to what's going on, whether it's climate action or social justice or race relations. Eli comes from a Cambridge political family. If it wasn't for Eli having this idea at the origin, I don't think we'd be where we are. That being said, we've been really fortunate to have the [dance music] community rally behind it, whether that's the DJs like The Blessed Madonna, Seth Troxler or Justin Martin, who are signed up way back when to do the real-life college tour with us and donate their time. And our manager Jonathan has been helping make it happen. And 2+2, our management and touring team that really got behind and it felt like it really had legs. And once Infamous got involved, forget about it, then it really branched out. We are now a whole community of dance and music professionals, artists and administrators that are blowing this thing up.

And to piggyback on what Eli said, we may have been able to reach X amount on college campuses, but the way that it grows exponentially through the web and social media, it's just so powerful. I think we're probably going to do a lot more good this way, as unfortunate as it is to not be able to be all buddied up in a tour van, somewhere out at some gas station in the Midwest, which would've been fun. We've only got to do some touring via bus, and that's all has been a laugh.

https://twitter.com/ravethevote/status/1287804429224128513

Episode 1 was filled with incredible DJ sets, live performances, fun educational segments and crucial PSAs.

Visit https://t.co/GltHfPdTsR to register to vote and RSVP for episode 2.@CornelWest @AshLauryn313 @deoncole @LouieVeganyc @DannyDaze @sethtroxler @soulclap @ananesworld pic.twitter.com/nwB6OxMeTS

— Rave The Vote (@ravethevote) July 27, 2020

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There's some really huge names involved, especially some of the OGs, like DJ Pierre, Kevin Saunderson/Inner City, Louie Vega. What has the outreach looked like? And what has the reaction of the dance community felt like so far?

Levine: I want to throw in that we got the nod from Dr. Cornel West that started our whole four-part Rave The Vote online series. So big shout out to Dr. West, who's a big supporter of the house and techno community, which was a total, delightful surprise. He's super dope. As for a lot of these names—including Louie and Kevin Saunderson—Eli and I have been fortunate enough  over the years to build personal relationships with a fair amount of them. It's wonderful to call upon them.

Goldstein: I also would say this is kind of a testament to how connected the American, more-underground dance music scene is. It's a pretty diverse range of artists that we have built relationships with other years and were excited about getting involved with activism stuff. That list was a great starting point.

And everybody has really jumped at the opportunity. Some of these were personal connections, but a lot of the work was also done by the team. And it's cool. Each episode has a theme running through it. One of them is curated by Blessed Madonna. The first one was all our favorites. This one coming up next week is more of the kind of younger tech house scene. And then the last week is more of the beat, hip-hop oriented one. It's a testament to how diverse the underground is, but also how together and connected it is.

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The Rave the Vote livestreams are around 12 hours each, so what's going down during it and what viewers can expect? Also, what are you hoping happens after someone tunes in and engages with the livestream?

Goldstein: Well, obviously the most important piece of this is either registering, checking your status or requesting a mail in ballot, if that's available in your state. So the goal is to get people to go to RavetheVote.org, which they can do in advance of the streams too, it is 24/7. You can go to the website and do all this and also RSVP to the stream. By putting your information in, we'll be able to help provide support and guidance leading up to Election Day [Nov. 3] to help you come up with a plan to vote. Also, any outreach you can do to your friends and family to have them registering and voting is important. That's joining the movement, I would say.

That's the goal with the streams really, is to get as many people as possible involved via the site. It's funny, we had half a million unique viewers tune in to the first livestream and about 600 registrations. 600 registrations is great, but it's such a small percentage of the viewers. It's crazy. But that shows how important it is to have as big of a reach as possible and to get a lot of viewers with these livestreams. It's great to give people a call to action when they're enjoying music. Because there were a number of people who checked their registration or requested mail in ballots on top of the 600 who registered to vote. It's a great way to interact with people.

For the streams themselves, it's a really great, diverse range of DJs who are all super excited to be involved. Everyone's putting their best foot forward musically and also production-wise. At this point, all the DJs involved are pretty experienced with streaming. They know how to make a good looking and good sounding stream. More importantly, we have these really fun educational segments and PSAs from other artists, DJs and politicians in between the sets. So that's a fun way that allows for more of an interactive connection than just watching DJ livestreams. This is actually a way to be learning and also be involved with the initiative.

Levine: Yeah, the [Rave The Vote] producers did a really great job, they definitely deserve a bunch of hats off. They have been putting in real late hours to make it all come together. We can't wait to see what they come up with for these [three] next ones. Similarly, if you speak to other musicians or people through the GRAMMYs that feel passionate about this topic, we're always accepting more PSAs. This whole thing does not end with dance music DJs. This should be for the masses.

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Definitely, let's put it out there! So, as frustrating as it is, there are still people out there that feel either indifferent about voting, or just over it because they voted in 2016 and that guy still got into office.

Goldstein: That guy. [Laughs.]

What do you say to people who still say "It doesn't really change anything" or "Why does it matter?"

Goldstein: So there's multiple layers to this. A big part of this initiative is this educational piece of it. I do feel like we've been fed propaganda for most of our adult lives that our votes don't matter either, one, because the state we live in either always goes Republican or always goes Democrat. Two, because both the parties are the same. I feel like those are the big two.

And I guess three would be that the whole system is broken. That the two-party system doesn't work and we're not really represented anyway. In response to that, I say, one, that is not taking into account how important local elections are, both in our towns and also on a state level. I live in New York state, and I've seen how, the moment that we got a super majority after the 2018 election, the amount of bills that were passed for things that I care about was wild. From climate change stuff to worker protections, to healthcare, to all these things that at the state level can have a huge impact on your life and the world around you.

And then the local level of your community, this is where you actually can have the biggest impact because you actually can get to know your local representatives. These are all people who live in your neighborhood or near you, and you can connect with either them or their aides closely. These are people who are making the changes in your town or your county that impact you directly. For nightlife specifically, that's noise ordinances and liquor laws and all these kinds of things that affect where clubs can be, how late they can be open and more. So young people getting involved in that really can have a huge impact, because then we can advocate for what we care about, nightlife and culture and all that stuff.

Then you have district attorneys and attorney generals of the states who have a huge impact on what's going on around police brutality and social and racial justice. So these are really important positions as well that you're voting for in a local election. This is all one big part of it. Just to say that our federal system is broken, it's overlooking how much of an impact we can have on these other levels.

Let's look at our federal system and jog everybody's memory. There are three branches of our federal government. I feel we learned this in school, but either we don't pay attention or it just goes right over our heads, but they are so important. The impact of the three branches of government means that the president doesn't make all the final decisions, right? You have Congress, which passes all the bills and actually makes a lot of the legislation that's impacting us and that we care about. But the most important piece of all this is the Supreme Court and the federal courts. When somebody either retires or dies on the Supreme Court or who's a judge in a federal court, the president at the time, appoints a Supreme Court justice or federal judge, who serves for the rest of their life or for as long as they want to.

This has a huge impact on generations. So now, if the president is appointing somebody that aligns with their values and ideals, that person is going to be representing that for the rest of their time in the courts. This administration has gone out of their way, they have a whole strategy to really make as big of an impact as possible on the federal courts. They've appointed over 800 federal court justices, which is almost twice as many as [Barack] Obama appointed in his eight years. Basically, they asked and pressured older conservative judges to step down so they could appoint younger judges to take their places so they can hold the roles for longer.

They have such a huge impact on the little decisions that are made every day or a few times a year, that then lead to things like abortion being legalized or made illegal, or segregation and desegregation, civil rights, prosecuting police, voter rights, all these things that we care about, the Supreme Court makes decisions that impact it.

That's crazy. That just blew my mind.

Levine: It's a lot.

Goldstein: It's a long answer. But the basic part of it is, look, we've been fed propaganda that our vote doesn't matter. Yes, the system is not perfect and yes, politicians are not perfect, but this is what we have. And if we don't participate, we can't make any changes.

Levine: I mean, with the pieces of the puzzle that are intangible for citizens, like the electoral college, gerrymandering, voter suppression, all this stuff, there's things you can do and there's things you can't do. But if you are not even registered to vote, if you're not even attempting, if you are not participating, then it's guaranteed there is nothing you can do.

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To your many mic drop points, Eli, how do you educate yourself on state and local candidates and measures? Sometimes the language on ballots can be sort of misleading and can also just jargon-y. What are some ways that you educate yourself on the issues, or places that you point people to that are don't even know where to start?

Goldstein: Well, I mean, this is complicated. Most of the places that you get information are partisan. There's no easy way to get all the information. It's not just right there. Maybe it should be, I don't know how they could necessarily do that. Some cities and states send out mail that has information about all the initiatives and candidates in your city. Not all cities do that. When they do, it's a great way to encourage participation and understanding from everybody.

But here's the thing, if you really care about this stuff—this goes back to the last question. I heard this in a Noam Chomsky livestream recently, politics is actively participating in things that you care about every day. That's what politics really is. It's not easy. It's not sitting back. To really get involved and really make a difference with this stuff, you have to put a little effort in. Maybe it's not every day for you, maybe you don't have that time. Maybe you're doing other work that's important. Maybe you're just trying to survive. And that's totally understandable. But putting in that 30 minutes before the election to find this information and be educated can go a long way. There are places you can look. One is your local newspaper.

Almost every city or county has a local newspaper that shares this information on their website. And then another way is our mostly two-party system. There are a number of smaller parties in states that are under the other parties. So here in New York, there's the Working Families Party, which supports workers' rights and a number of other issues that I care about. They endorse candidates or send candidates that are supported by that party, and then have a voice in their policy. This is something that's often overlooked, these smaller organizations run by citizens like you and me who have an influence and impact by endorsing candidates.

So maybe you believe in unions and you see what the local union is endorsing. Maybe you believe in climate justice, you're an environmentalist, and you look for whatever the Green Party is endorsing. These are all a number of ways you can look for value-based guidance on this stuff. It is amazing how hard it is to find nonpartisan information on the internet. But if you go in with the idea that it's going to be partisan and you just look for the party that you agree with, that can do the work for you.

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That's such a good point. Also, certain nonprofits will share what candidates that align with their values, like the Human Rights Campaign will endorse candidates that support LGBTQ+ issues. You can always cross reference these lists too. I guess now most of us are hopefully voting by mail, so you have more time to sit with the ballot.

Goldstein: Right? But the other thing is you can be at the polls and take out your phone and do the research right there. It's not like you're not allowed to go on your phone and use the internet, you're taking a test. You can sit in there for 30 minutes if you want. I mean, obviously I wouldn't encourage that because there's other people who want to vote and often lines can get long. But if you need to take the time, take the time and make that educated vote. It's better to do that.

Levine: I've got a question. If you order the mail-in ballot, are you then obligated to vote that way, or can you still go to the polls?

Goldstein: You can still go to the polls. Actually, that's a good question. I may be wrong.

I think it depends on the state or county. In Los Angeles county, it is default vote by mail, so everyone registered gets a vote by mail ballot, which you can also drop off at a polling location or bring it in and basically forfeit your vote by mail. Of course it's super important, especially now, the ballots show up to your current address. [If you lose or forget your absentee ballot, some counties let you vote with a provisional one. Check your local county's website for more info.]

Goldstein: This is why it's so important to check your status beforehand and look at the policies of your state, what do you have to bring to prove you're eligible to vote and all these things. This is why we advocate for making it as easy as possible to vote, so people are not intimidated and they can exercise their right without feeling like they have to jump through hoops. I know our so-called President likes to say that voting by mail is rigged, but there are statistics proving it's not fraudulent.

Levine: [Laughs.] Everything's rigged with this guy.

Goldstein: States like Utah have universal mail-in voting, and Utah's a Republican state. It's not like mail-in voting makes Democrats win where Republicans were winning before. It's still pretty even, none of what he's saying about it is factual. It's important to keep putting that out there that mail-in ballots actually are as secure, if not more secure, than voting in person. We've seen that voting in person has potential to be hacked.

Levine: Absolutely. Or it can just malfunction.

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To your point, the President has been doing a lot to try to suppress voting, by attempting to defund the USPS, which delivers and collects the ballots, making those erroneous claims about voting by mail, and now trying to postpone the election. What can we do to make sure this election is fair? 

Goldstein: I mean, it's so hard to be nonpartisan with this stuff. My first answer, which is totally partisan, is win by a f***ing landslide. If everybody goes out and votes, it doesn't matter how corrupt, how broken the system is and how much they try to suppress voters and hack the vote in swing states, if the win is so overwhelming it doesn't matter. There's nothing they can do. It would just be too obvious for them to hack it. So, that's one answer.

The other answers are you can volunteer or you can sign up to work at the polls. You can literally get paid to be a pollster. There's actually a shortage of people this year because it's always older folks and a lot of them are high risk for COVID-19. So young people going and working in the polls and seeing exactly what's happening is going to be our most valuable tool.

There's a great website called Vote Save America, they have an initiative called Every Last Vote. There, you can get resources, including a great FAQ about voting by mail. There's also a sign up for being a poll worker and a sign up to volunteer to go to the polls and make sure everything is working the way it's supposed to. I will say that it's also really important volunteering because the Republican party has established a program called Protect the Vote, which means they're going to be sending monitors to polling places and challenging voters deemed "suspicious." So it's really important that we're out there making sure that people are allowed to vote. Every Last Vote is a great resource for doing that.

And, with any of this, the only way you can feel like it's actually going the fair way is by participating as much as you can, educating yourself, voting, volunteering, working in the polls, getting involved with organizations that do work that you believe in. This is how we stand up and take away this feeling of not having power. We take back the power for ourselves.

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Related: Amid Black Lives Matter Conversations, Black Latinx Artists Urge Non-Black Latinx To Do Better

You've been using your platforms to point people to different actions they can take on important social justice issues, including standing in solidarity with the Black community and against police brutality. What do you believe it means to be a true ally, and how do you continue to educate yourselves and stay informed?

Goldstein: I think we've learned so much over these last few months. I always thought of myself as an ally, but I think learning what that really means has been a really important process over this time and, like anything, it's always a process. And so, a big part of that is obviously educating yourself. One great way of doing that is by following accounts for organizations like Black Lives Matter or Color of Change on Instagram, or some of the smaller local organizations, like local chapters of Black Lives Matter, and following activists that you believe in. That's a great start, they're posting information.

And then just listening. If you ever get in conversation about this stuff, ask questions and just listen. That does not mean just hitting up your Black friends and being "Hey, what do I do about this?" There's plenty of resources online to figure that shit out yourself. That also doesn't mean you shouldn't check in with your Black friends and have conversations and say hello. Let them know you're here to support them, and if they need anything to reach out.

And then also donating to organizations. I've been talking about voter suppression and voting rights—there's a couple of great organizations you can support. One is called Voting While Black, which is advocating for voting rights for Black and brown folks. And then there's also Fair Fight, started by Stacey Abrams, which is doing work to make sure everybody has a right to vote.

it's also saying Black Lives Matter, living Black Lives Matter and making sure that's part of what you're thinking about every day. And part of that too is looking at your privilege, looking at how your Whiteness got you what you have and being real about that with yourself. That's another important thing, figuring out how you're going to try to use that, what you've accomplished, to help lift up other people who don't have that privilege.

Levine: I would just add to that, I know it's difficult, but when friends or family members say things or act in a way that could be perceived as a micro-aggression or as flat-out racist, to hold them accountable and point out that this is inappropriate. If you allow some of this behavior, it's dangerous. It can be difficult, especially when it's friends and family, but making sure they are educated as well is important. it's also important to check in with your Black friends. I think communication and conversation is at the heart of what will make a big change.

Goldstein: This is what we've been trying to do with the "Schmoozing" show, to have these hard conversations. I agree it's so important to see where people's heads are at, see what they believe in, where they're coming from and how they want you to make an impact and be an ally.

Levine: The long conversation format is really is wonderful. It allows you to ask the difficult questions and it's okay to get it wrong. It's okay to learn something from a conversation. Maybe people are scared of that, but that's a big part of the growth, I think.

DJ JP Lost Pop Smoke, Entered A Pandemic & Is Surviving Both Through Reinvention

Jayda G

Jayda G

Photo: Franz Freitag

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Jayda G On New EP, Promoting Diversity & Joy jayda-g-talks-new-ep-promoting-diversity-dance-music-sharing-joy

Jayda G Talks New EP, Promoting Diversity In Dance Music & Sharing Joy

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The Canadian environmentalist/producer/DJ released the follow-up to her 2019 debut album, the funk-filled EP 'Both Of Us / Are U Down,' on July 3
Ana Monroy Yglesias
GRAMMYs
Jul 23, 2020 - 12:29 pm

With her ever-present grin and a vision of inclusivity and sustainability, Canadian-born, London-based environmental scientist/producer/DJ Jayda G is a much-needed positive force in dance music. While completing her graduate thesis in environmental toxicology, she was also working on her stellar debut album, Significant Changes (released in 2019 on Ninja Tune), bringing together her experiences with orcas and as a DJ impartial to old-school funk and house.

Jayda G · Both Of Us / Are U Down

Related: Jayda G Is The Environmental Scientist & House Music DJ/Producer The Planet Needs Right Now

Now, with her latest project, a four-track EP called Both Of Us / Are U Down (with co-writing and co-production from Fred again), Jayda returns at a time we need her most, bringing more joy, funkiness and hope for brighter days.

Listen to the EP above (and order it on Bandcamp here), which was released on July 3 on Ninja Tune, and read on to hear from the "Move to the Front" artist herself about it.

In a recent conversation with GRAMMY.com, she discusses why she chose to release the project during these difficult times and shares the meanings and inspiration behinds the two songs and their remixes. She also talks representing diversity and inclusion in dance music and how others in the industry can do more.

How are you feeling right now? How have you been coping with these difficult times?

Honestly, I've been actually doing pretty good, obviously ups and downs, as everyone, I think, has been feeling. I've been using this time to really get centered, and just be rested, and also work on a lot of projects and ideas that I haven't really had as much time to give to. So, it's actually been productive and fulfilling in a lot of ways.

Listen: Channel Tres Drops First New Music & Video Of 2020, The Groovy "Weedman"

Your new EP, Both Of Us / Are U Down, dropped on July 3—what does it mean to you to share this project at this time? What do you hope listeners will experience with it?

Honestly, to share it at this time, it was a bit difficult. I, at first, thought I shouldn't drop the EP just because things seemed so bleak at the beginning with COVID-19 and such, and that it just didn't seem the time to be releasing an uplifting dance song. But after contemplation and discussion, it seemed like this was maybe the best time, because people need it right now. People are stuck in their homes, and aren't able to go back to normal life. So what better time to really be releasing a song and an EP that is uplifting and makes you feel good? I hope that listeners experience exactly that.

https://www.instagram.com/p/CBF_uFAgo2b

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The contrast between the giddy jubilance of "Both Of Us" and the cautious-yet-excited anticipation on "Are U Down" is really fun and very real to the human experience. What does that contrast represent to you, and what did the moods of the tracks feel like for you while making them versus how you hear them now?

Well, in terms of the contrast of the songs, it's interesting. The lyrics of "Both Of Us" are rooted in a time in relationships where you want to just be with a person all the time. That feeling of "I just want to be with you!" that you get at the beginning of meeting someone—that's what "Both of Us" is speaking to.

Contrasting that to how things are now, it's still very similar. Right now, a lot of people are not able to be with each other. We're kind of isolated. And so, this is a great song that expresses exactly what I think a lot of people are feeling, whether that is a loved one or family, friends, colleagues, or however that speaks to you, right?

And with "Are U Down," is kind of a call and response with the sample that we used [that says] "Are you down," and then [Jayda says] "feeling super down." It can be taken as however you want. When we were making the song, "Are you down?" means, "yeah, I'm down to hang." I'm down to do whatever this is, be it relationship-wise or "taking the plunge," which is also part of the lyrics. And so in terms of how it is now, I think maybe it's not as relatable as "Both Of Us," but I think it definitely can be related to the feeling of "we are doing this." Where we are in this world even right now and having to get through it.

The "Both Of Us" music video is super fun and its funky Sunset Bliss Mix remix feels like a whole new track—what were the inspirations for both the video and the remix?

"Both of Us" is a very nostalgic song for me, personally. When we were writing it—this leads to the remix question as well—I was trying to pull some of my favorite house track productions. I really wanted to emulate that sound, especially in the remix. With the house claps, etcetera, that was really pulling from early '90s house references that I love and play out when I'm DJing a lot. And the same goes for the original as well, it's just stronger within the remix.

And for the music video, I really wanted to emulate that nostalgic feeling of a time passed, and I think we hit home with using an old video camera from the '90s, and using old footage from when we were DJing and such.

Read: How 1995 Became The Year Dance Music Albums Came Of Age

You hosted a handful of "Virtual Get Down" livestream sets for a few of the cities you were supposed to play in this spring—what did engaging with your global fans in this virtual way feel like for you?

Oh man, it gave me so much. It was really I did them when the whole lockdown things were still pretty fresh, I think. And to really see people engaging, dancing, and chatting on the group chat, it just like ... man, those group chats were so ... just looking back at them, were people just meeting each other for the first time, bringing together people who would've never met otherwise. And seeing people on Instagram dancing and engaging ... This one guy was like playing violin to the set, and stuff. It was crazy. It just gave me a way to engage with my fans that I never thought was possible during a time where you can't be with people. So, it made me so happy, and yeah, I was just so elated that we did it.

"It means exposing Black and queer people more within this music community that has become so White. For me personally, I'm doing the thing because I personally represent that just by existing."

 

Disco and dance music were created by Black and queer people, yet the modern dance music scene can feel far removed from its roots. What do you think the dance music community can do to create and promote more intentional, inclusive and diverse spaces?

Oh gosh, there's so many things. Look, it's the fact that Black and queer people made dance music, and then it was basically appropriated by White people, so it's also up to White people to take responsibility and accountability for what they have taken from this dance scene. And I think that comes from knowing your history, understanding where it comes from and really diving deeper into what that actually means to you personally. Are you taking something that really means something energetically when you're DJing? Or are you giving back? Are you trying to express or give space for Black and queer people?

In terms of what that actually looks like, I think it means, for artists who are White, maybe that's hiring a manager, a rep or a photographer that is BIPOC, or is queer; that represents the community that the music actually comes from. And then also in turn, it means exposing Black and queer people more within this music community that has become so White. For me personally, I'm doing the thing because I personally represent that just by existing.

And in terms of my actual team, when I hire photographers, or work with stylists or makeup artists, or anyone, I'm very conscious about who actually is in the room with me. Are they people who identify with me, see me for me and understand the things that I've gone through? It all makes a difference. And in terms of DJing within the scene, I try to uplift people who also identify with being Black and queer. That's always been important to me, but also, I think a bigger issue when [White artists are] speaking to other White people, it's their responsibility and their problem as well.

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This year has proven to already be one of major upheaval. What are your biggest hopes for changes we see coming out of 2020?

A [COVID-19] vaccine! [Chuckles.] That is my biggest hope for changes for 2020 is a vaccine. And also, kidding aside, look, we are during a time where we are having to stop and think and be reflective about how we are living our lives. And I just hope that people really take that to heart, and I think we are. I like to be hopeful in that way, that people are stopping and thinking and looking at how this world is conducted, how our system and economy is being run. And maybe it will help people to make better choices for themselves within the economy, within voting, and move forward to a bit of a brighter future in so many more ways than just one.

TRANScendent Sounds Fest To Feature MJ Rodriguez, Abigail Pereira, Ryan Cassata & More

Black Coffee

Black Coffee

Photo: Alari Teede

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Black Coffee Talks New LP, 'Subconsciously' black-coffee-new-album-subconsciously-interview

Black Coffee On New Album, 'Subconsciously': "Music Is Life To Me And I Want You To Feel That With Every Beat And Melody"

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"That's what music should do, it should divide barriers and unite us under this one universal language," the South African DJ and producer says of his new album, 'Subconsciously'
Ana Monroy Yglesias
GRAMMYs
Feb 4, 2021 - 1:29 pm

If you have yet to immerse yourself in Black Coffee's captivating, atmospheric beats, now's a perfect time. The South African DJ and producer's emotive sixth album, and first in five years, Subconsciously, drops tomorrow, Fri., Feb. 5, on Ultra. To craft the enchanting soundscapes therein, Black Coffee tapped a diverse, talented group of collaborators, including vocalists Usher, Sabrina Claudio, Celeste and more, and fellow producers David Guetta, Diplo, DJ Angelo and Pharrell Williams (who also provides vocals on "10 Missed Calls").

Black Coffee has been big in the international house music scene since 2013. That year, he won bingo on the DJ bucket list, playing spots like Berghain in Berlin, Amsterdam Dance Event, Circoloco in Ibiza and his first Boiler Room set. In 2017, while he was busy bringing joy to dancefloors around the world, he made waves in the mainstream with his standout feature on Drake's More Life. "Get It Together" featuring Jorja Smith is a remake of Black Coffee's 2007 track "Superman," its pulsating beat traversing decades and borders.

The Drake spotlight led the talented producer to "Get It Together" in the studio with other heavy-hitters like Diddy, Akon, Usher and Pharrell and to where he is today. Subconsciously is a culmination of Black Coffee's two-plus decades refining and redefining his sound, limitless beyond borders and genres, yet rooted in his South African identity—he's never too big to work with fellow artists from his home country.

Ahead of his exciting new album, GRAMMY.com caught up with the "Wish You Were Here" artist over email to dive deeper into the project and its collaborators, as well as what representing South Africa means to him.

What does your new album Subconsciously represent to you? What was your creative vision for this project?

When jumping into this new project, I wanted to remind the world that we're not confined by genres. As an artist, that's a value I hold very close to me. I create music that I can connect with, that provokes a certain emotion.

That's what music should do, it should divide barriers and unite us under this one universal language—and that's exactly what I wanted to do with Subconsciously. My artistic touch will always be defined by my music, but I want to break barriers and convey a global message, not just on dancefloors. This album goes way beyond. 

Read: Record Store Recs: Producer Bongo ByTheWay Shares The Music Of His Mind

There are a lot great collabs on the project—how did you choose who to work with on this one?

There are different processes for making every song and so I didn't go into this album thinking that I had to work with a particular artist. As the music evolved, we played around with many different elements. Sometimes a particular voice just meshes well with the direction of my production and it works. Other times, we're pitched a vocal and I adapt my music to make it feel right. These different processes sort of create an equal playing field for collaborators. 

https://www.instagram.com/p/CHqDqcWJ18O

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What is your favorite part about working with other artists? And what do you feel like is one of the more challenging elements of collaborating?

Sometimes, you've put your heart and soul into a particular song and you feel there's nothing else that can be done, but then you add another creative on board and the song is elevated to a place that you couldn't have imagined before. Every vocalist, producer or writer can add a certain key element that changes the whole dynamic of the music and I think that's the real beauty in collaborating. I wouldn't say there are challenges, only creative motivation!

More Convos: Popcaan Talks 'FIXTAPE,' Working With Drake And The Globalization Of Dancehall And Reggae

When you released "LaLaLa" with Usher in 2019, had you already finished the album? For you, in what ways did this track feel like a shift into new sonic territory?

Back when I released this single, the album hadn't been 100 percent completed. The general tracklist had been outlined, but we were still going in and adding finishing touches to make it what it is today. The creative process and journey in making this album spanned over a couple of years.

For me, it wasn't necessarily a shift, but rather a gateway to spreading the joy of different sounds and reminding people that one particular musical way of thinking isn't superior to another. To me, if a song can evoke emotion and power, it's already done its job.

The music I am producing is oftentimes very different than the music that I DJ. I create music that you can blast on your car speakers or clean your home to. I create feel-good music that can universally bring us together. It's all about that feeling. 

"To me, if a song can evoke emotion and power, it's already done its job."

As a whole, Subconsciously is very captivating and immersive, and it definitely has a bit of a chilled out and moody vibe. How would you describe the mood and the feeling of it?

Every time I listen to Subconsciously, I have a new favorite song. That's what makes this album unique. There's something for every mood; it evokes a lot of emotion. You have the deeper sounds of "You Need Me" [featuring Maxine Ashley and Sun-El Musician] or "Ready For You" [featuring Celeste], upwards to the more poppy side of the spectrum with songs like "Never Gonna Forget" [featuring Diplo and Elderbrook].

What do you hope your fans will experience while listening to the album?

I hope that it brings anyone who's listening from anywhere in the world joy. That's what the music is all about for me. I've been working on and evolving my sound for pretty much my entire life. Music is life to me and I want you to feel that with every beat and melody. 

What does it mean to you to represent South Africa across the globe? What is a misconception people often have about your home country?

My South African roots are something extremely important to me. I want to bring South Africa to the world. The talent emerging from my country is growing by the day and being able to collaborate with outstanding artists like Sun-El Musician, Tellaman, Una Rams, Msaki and C-Tea, to name a few, means I'm taking the sounds of South Africa one step further on the global spectrum. It's such an honor to be able to carry the flag on a more global spectrum.

When people from outside the country or even further, the continent, think of South Africa, they have a very cut-and-paste conception, but it goes so far beyond that. My country is home to some of the most incredible musicians, artists and great minds, even beyond the obvious household names. Our culture is vibrant and booming and I'm so proud to call it home. 

Do you have your eyes on any rising African artists right now?

It's hard to pinpoint any one particular artist right now, as there is so much emerging talent. In the music world, there's Da Africa Deep, in the visual world, there's Ghariokwu Lemi, but these are just two of so many. I could go on for days and the scope is constantly changing and evolving.

Life On Planets Talks Astrology, Inclusivity On The Dancefloor & Why We Have To Be Like Martin Luther King Jr.

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.