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12 Open Air Venues You Need to Visit This Summer

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If there’s one supreme thing to look forward to during the summer it’s open air parties. Warm weather and blue skies overhead as lush house grooves emit from the speakers – it’s a hard scenario to beat.

Throughout summer it’s not uncommon to see open-air pop up parties such as Richie Hawtin in Plaça de la Boqueria, tINI hosting beach events in Ibiza (until they get shut down by authorities), or Subtract and Sublevel taking over a golf course in Malibu. But pop-up parties aside, there’s established venues that will be grooving all summer.

Here are 12 open air venues that we have our sights on this summer.

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15 Years In The Making: LOOPTOPIA – Taiwan’s First Homegrown EDM Festival

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Taiwan is making a serious debut in the electronic dance music scene this year with the launch of Looptopia, the first ever homegrown multi-day and stage dance music festival. It will be a two-day event and it will feature more than 50 top DJs and entertainers from all over the world.

theLoop, the organizing promoters responsible for this marvelous event, made sure to create a festival haven for all dance music fans. With three eye-catching performance areas, interactive art installations, camping sites with cabins, showers and amenities, LOOPTOPIA is an EDM fantasyland jam-packed with loads of surprises.

The festivity will be held in the lush grasslands of Taoyuan Pushin Ranch from 12:00 noon of April 8th until 10:00 pm the following day. Its venue is surrounded by trees and a nearby lake — perfect for a day and night of relaxation and enjoyment. Enjoy a two-day music getaway from the busy streets of Taiwan courtesy of theLoop.

For accommodations, Looptopia has on-site camping which will be available to all festival goers. Limited cabins will also be available for hire. For attendees who wish to stay in hotels, Looptopia will also be offering packages with partner and nearby hotels. All information regarding accommodations will be announced soon. Frequently check their website or Facebook page for updates.

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Moreover, shuttle busses between the Taoyuan Pushin Ranch and Sun Yat-Sen Memorial Hall MRT Station will also be available for your convenience. Tickets are $200 TWD and must be purchased separately for journeys in both directions. Kindly refer to the ticketing website for the schedule and rules of purchase.

With regards to music, theLoop has confirmed Looptopia’s Phase I lineup through their official festival Facebook page. It’s a well-chosen list of  some of the industry’s best talents and world-renowned DJs. Here is the partial list of the amazing DJ selection that will be on decks for the debut of Looptopia:

  • Aly & Fila
  • Ben Nicky
  • Brennan Heart
  • Charming Horses
  • Dante Klein
  • Dimitri Vegas & Like Mike
  • Dirtcaps
  • Dyro
  • GTA
  • Kris Kross Amsterdam
  • KSHMR
  • Martin Garrix
  • Mark Sixma
  • Markus Schultz
  • Mattn
  • NGHTMRE
  • Orjan Nilsen
  • Tony Junior
  • Wildstylez
  • Wiwek
  • Yellow Claw

So what are you waiting for? Don’t miss the opportunity to be a part of Taiwan’s EDM history! Camp, have fun, and enjoy outdoor barbecue while listening to your favorite DJs play. Buy your tickets now!

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Connect with Looptopia: Official Website | Instagram | Facebook | 0966-136-000

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Opinion: What Trump’s Divisive Policies Mean to the Dance Music Community

 

Despite officials of other major cities such as Los Angeles, San Francisco, New York City and Chicago publicly announcing that they will remain sanctuary cities, Miami-Dade Mayor Carlos Gimenez has ordered county jails to comply with federal immigration detention requests in fear of a loss of millions of dollars from federal funding. This is effectively erasing the county’s position as a “sanctuary” for immigrants in the country illegally, a response to an executive order signed Wednesday by President Donald Trump that threatened to cut federal grants for any counties or cities that don’t cooperate fully with Immigration and Customs Enforcement.

“In light of the provisions of the Executive Order, I direct you and your staff to honor all immigration detainer requests received from the Department of Homeland Security,” stated Gimenez’s three-paragraph memo address to the interim director of the corrections and rehabilitation department.

While Miami never accepted the label of “sanctuary city,” it has continued to act like one by refusing to indefinitely detain inmates who are in the country illegally and wanted by ICE since 2013. Now, however, the county does not want to lose its federal funding and is changing its stance on the matter, even though Miami-Dade county officials have insisted that their policy was not one dictated by principle but rather simply because the federal government doesn’t reimburse for the expenses.

via Office of the County Mayor

via Office of the County Mayor

“I want to make sure we don’t put in jeopardy the millions of funds we get from the federal government for a $52,000 issue,” said Gimenez. “It doesn’t mean that we’re going to be arresting more people. It doesn’t mean that we’re going to be enforcing any immigration laws.” Trump’s response came, of course, via Twitter.

Howard Simon, executive director of the Florida chapter of the American Civil Liberties Union, went on record to speak against Gimenez’s move, claiming that it “flies in the face of Miami’s long history as a city of immigrants” and predicting it will “drive a wedge of distrust between law enforcement and our immigrant community.”

But what does this mean for the dance music community of one of the country’s most vibrant cities, and for the countless thousands who land in Miami for major annual dance music events the likes of Miami Music Week, Winter Music Conference, Ultra Music Festival, iii Points, Art Basel and more?

The cornerstones of dance music are ones of undeniable inclusiveness and pervasive acceptance. A first descendent of disco, house music found its beginnings in Chicago, thanks to the iconic parties that featured the music of pioneers such as Frankie Knuckles, Leonard Remix RRoy, Chip E and of course Farley “Jackmaster” Funk. There is absolutely no doubt that spiritually and aesthetically house music, and by default all dance music that came later, developed in the U.S. out of the need of oppressed people, African Americans, gays and Latinos, to build a community through dance. The same was true later in the UK, when the need of young people dissatisfied with the meaningless materialism of Thatcher’s England to build an alternative community of music gave birth to the Acid House movement there. The aim was to unify people of all races, backgrounds and sexual orientations, not to divide.

And now, a week since Donald Trump has taken the oath of office, we are seeing an America that is as divided as ever, with Miami going against current as the first major city and dance music hub to comply to Trump’s threat with regard to “sanctuary cities”. Miami has long been a city built by immigrants, and immigrants have for decades played a fundamental role in shaping the city’s culture into what it is today. Statistically speaking, Miami-Dade is a county where more than half of the population is foreign born, and it is safe to assume that the same can be said of the dance music community that resides there.

Then there’s the case of the visitors that roll into the city annually for the aforementioned major music events. As things stand now, with Mayor Gimenez unable to find any sort of backbone to stand up to the Trump administration for more than a single day before rolling over, if you’re in the city because you either live there or are in town for a festival, you are no longer offered sanctuary protection. If arrested and wanted by the feds for immigration-related purposes, you will face deportation or long, indefinite stints in detention centers under Trump’s new plan.

More broadly, however, there is no denying that Trump’s executive order and general rhetoric goes against the very fabric of dance music culture. The city’s new policy is hurting the dance music community rather than listening to the people of Miami and to those who come to the city every year to celebrate diversity. In Chicago, Mayor Rahm Emanuel declared: “I want to be clear: We’re going to stay a sanctuary city. There is no stranger among us. Whether you’re from Poland or Pakistan, whether you’re from Ireland or India or Israel and whether you’re from Mexico or Moldova, where my grandfather came from, you are welcome in Chicago as you pursue the American dream.” 

“We’re going to defend all of our people regardless of where they come from, regardless of their immigration status,” Mayor Bill de Blasio of New York said at a news conference with other city officials. But perhaps no official went as far as Boston’s mayor, Martin J. Walsh. “To anyone who feels threatened today, or vulnerable, you are safe in Boston,” Mr. Walsh said at a news conference. “We will do everything lawful in our powerful to protect you. If necessary, we will use City Hall itself to shelter and protect anyone who’s targeted unjustly.”

The same cannot be said of Miami now that it has effectively turned its back on the very same immigrant population that had always been considered to be the backbone of the city. It’s perhaps a little too early to predict how the immigrant community in the city will respond, and certainly it’s hard to know how the dance music community that calls Miami home will react to the events transpired just yesterday.

On Saturday January 21st, the day after Trump’s inauguration, millions across the United States and the world took to the streets to participate in the Women’s March, a worldwide protest in support of women’s rights and other causes including immigration reform, health care reform, protection of the natural environment, LGBTQ rights, racial justice, freedom of religion, and workers’ rights. Discwoman, a New York-based platform, collective, and booking agency representing and showcasing cis women, trans women and genderqueer talent in electronic music, took part in the march with a clear message for Trump: the techno community will be fighting against his divisive agenda.

 

As a member of the dance music community I cannot help but find myself at odds with Trump’s divisive immigration policy, including his absurd plan to build a wall on the Mexican-U.S. border, the constant “alternative promises” he is making that Mexico will be paying for it, and his attempts to coerce sanctuary cities into turning in immigrants under the threat of vital federal funding being pulled in case of non-compliance.

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Q&A: Pär Grindvik Talks Life in Berlin, his Berghain Routine and more

 

One of Berghain’s more frequent acts is a Swedish producer, DJ, label-head and father of three children named Pär Grindvik. Now a resident of Berlin, Pär has been a pivotal figure of his home country’s electronic and techno scene since the mid-’90s, with acclaimed releases on a string of widely-popular labels such as Drumcode, Semantica, Marbacka, Sinister, Dystopian and of course his very own Stockholm LTD.

Pär launched the label in 2002, originally intended as an outlet for Swedish artists to release singles and EPs. While the imprint’s repertoire has since expanded, the focus has remained on quality and timeless electronic productions. 2016 saw the producer release his first LP on the label, Isle of Real, to great reception from industry peers and fans alike, while so far this year he has already played gigs in Germany, South Korea and China, with a visit to Stereo Montreal in the cards for the 24th of February.

We talked with Pär to discuss his life in Berlin, routine for Berghain gigs and more.

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‘Beyond Home’ EP Premiere and Q&A: Meet Italian Rising Star Monophaze

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Monophaze is one of Italy’s up-and-coming underground dance music producers. Based in Florence, he is about to release Beyond Home, a two-track EP out on John Norman’s UNT Records. The original is from the young Italian, and the remix comes from label boss John Norman himself.

The EP has had some great early feedback, with support from Mark Grimace, Teknobrat, Peppelino and Noah Pred, and we are proud to be premiering it for you exclusively today.

6AM caught up with Monophaze ahead of the release on January 31st.

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DJ Event Business Plan

Why Every Promoter Should Write an Event Business Plan (And How)

 

If you’re an event promoter you might be skeptical and think that making a business plan is unnecessary and just a waste of time when it comes to event planning. But you couldn’t be more wrong. Every promoter should write an event business plan to successfully put on a show whether it be a festival, nightclub party, or concert.

Most times, promoters treat each event as a hobby more than a business which eventually leads to failed shows. There is nothing wrong with loving what you do but everything that involves money and earnings should be planned accordingly in order to gain and not lose.

It almost always takes formal planning in order to secure your funds. If you are funded by capitalists, commercial banks, and even angel investors like private sponsors, it is your responsibility as a promoter to develop an effective event business plan. And if funds come from personal resources, it remains important to have a formulated business plan to follow in order to capitalize on your chances of success.

It can be a great help to keep track of your progress and financial status, including how the money goes in and out of your pocket throughout the whole duration of your event preparation as well as afterwards. It can also be used to develop a strategic plan for continuing events in the future and to bring investors, sponsors or partners on board.

So gather up your materials and jot down these quick tips that will describe the essential components of how you should write an event business plan:

Prepare an Executive Summary

The first page of your event business plan will be comprised of your executive summary. Consider it your event overview or outline. It will follow your title page, thus it has to be concise. Do not beat around the bush and clearly discuss what you aim for in the summary. Keep it short and formal.

The contents of your executive summary should contain the synopsis of your whole business plan. Especially:

  • Overall Concept – What kind of event are you throwing? Who are your target market? How will your event standout?
  • Important Financial Details – Focus on projected growth of income like your potential profits, event sales, return on investment, and cash flow. Furthermore, you must state the exact capital needed for your event and go into details on how it will be used.
  • Your Background – Provide a detailed information of yourself as the event planner/promoter or your company if there are other people involved. Briefly describe your history in event planning/promotion and who is responsible for putting the event business plan altogether.

Remember that when it comes to writing your executive summary, the shorter and more accurate your point is, the better. Be sure to let your reader immediately know what your capabilities and needs are.

Event Description

In this section, you can fully explain and elaborate the details of your event. Unlike the executive summary, this part does not have to be short but it has to be accurate.

Start with a short description of the event. Discuss present and future possibilities. Are you planning to have the same particular event if it turns out to be successful? Point out what makes your event standout. Emphasize unique concepts and ideas. This is crucial if you are seeking investments and financial supports. Your sponsors/investors will want to see your vision and know how dependable and trustworthy you are as a planner/promoter.

Moreover, you should mention how your event will likely be successful and what kind of support systems are being considered. These could come in forms of advertisings and promotions.

The event description statement should be enough to give the reader a clear and definite idea of your objectives.

How Will You Earn?

State why your event is going to be profitable. How will you attract potential attendees? What forms of advertising will you use and how much budget did you set for each. Also explain your pricing techniques and available ticket options and never forget to provide a financial breakdown for all your target goals.

Remember to sum up all your costs before strategically planning your ticket prices. Include both direct and indirect costs and be careful not to overprice or underprice your tickets. Correct ticket pricing can greatly affect your potential event income.

Promotion Strategies

As an event promoter, this is one of the crucial steps that you have most likely mastered. Promoting an event is hard but if you are organized, it can be easy as a breeze. Event promotion is just a matter of controlled distribution of communication in order to sell tickets to potential attendees. To attain this goal, communication efforts must be utilized. This includes:

 

Risk Assessment

There will be risks associated with your business event plan. Each of them should be assessed and addressed. These risks may involve areas in marketing procedures, personnel requirements, finances, management and operations, facilities, etcetera. By identifying each problem and giving a possible solution to them during your event developmental period, you will lessen your fears with regards to event preparation and those of your investors too.

Appendix

This will be the section of your event business plan that will feature all your supporting documents. From payment receipts to bank statements and inventories. You can also use this part to write down any additional information such as your event policies and reports.

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These are just a few steps to get you started. If after reading this article you still feel lost on how you should write an event business plan, do a quick search online for hundreds of business plan templates to choose from.

Don’t worry on how many pages your event business plan is, as long as you make sure that its contents are rich and useful.

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Daft Punk’s “Homework” Came Out 20 Years Ago Today, and NOTHING of Theirs Has Come Close Since

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Daft Punk’s seminal Homework LP came out 20 years ago today. Feel old yet?

Daft Punk’s allure is not a secret to anyone. The French duo have not toured since 2007’s Alive, and it frankly seems that people get more infatuated with them as the years pass on and the unfounded rumors of a return tour turn out to be the same repeated hoax of years prior. While there is no denying that their work played a pivotal role in the foundation of dance music as we know it today, and that their Alive tour ten years ago was the forbearer of massive stage production that has since become a festival standard around the world, there is always a sense of wonder with regards to their ever-growing popularity and whether it’s in large part due to their continued secrecy and elusiveness.

As Homework celebrates this milestone anniversary, it is important to keep it within context of what dance music was at the time and what it has become since. Those not in the know easily join in repeating the rhetoric that the french duo composed of Thomas Bangalter and Guy-Manuel de Homem-Christo completely revolutionized an other-wise unknown scene and sound, bringing it to the masses as a result. The truth is that it couldn’t be further from the truth: Daft Punk did not introduce the world to house music, nor to the broader sounds of dance music.

This is what Homework really was: Daft Punk’s business card to the world, an introduction of their unique production prowess to an already flourishing dance music scene. It surely helped mold dance music at the time and it continues to be one of the most important dance music albums ever produced. The duo produced the tracks without plans to release an album. After working on projects that were intended to be separate singles over five months, they considered the material good enough for an album. Yes, it brought attention to the French house music scene, charting in 14 different countries, peaking at number 3 on the French Albums Chart, number 150 on the United States Billboard 200 and at number 8 on the UK Albums Chart. By February 2001 — four years later — the album had sold more than two million copies worldwide and received several gold and platinum certifications. Daft Punk introduced Homework to the world at a time where other notable artists, the likes of The Chemical Brothers or Fatboy Slim, were already bringing in guest-star vocalists and sampling rock records to large crowds. Where they differed, Rolling Stone has argued, is in proving that “techno and house could be as elastic, catchy and, at times, as funny as the poppiest pop without diluting its hypnotically driving, acidic essence.”

Daft Punk 2007

 

Music critics since have been united in acknowledging the success that was Homework. The 16-track outing included what many consider to be Daft Punk’s ultimate anthem, “Around the World,” but also other notable tracks such as “Da Funk” and of course “Alive.” it is easy to see why the album was a prequel of what later would become the beginning sound EDM, a concoction that mixed electronic sounds with pop and hip-hop, all the while remaining applicable and approachable to music tastes at both ends of the spectrum.

Juxtaposed against the duo’s following albums, Homework remains the duo’s best work yet, and the most iconic both in terms of their personal career and its role in dance music as a whole. In celebration of twenty years of Homework we leave you with this fantastic short video of the duo playing sans helmets in 1995:

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Stephan Hinz

Q&A: Discovering Stephan Hinz

Stephan Hinz

 

A prolific producer for over a decade, Stephan Hinz is entering 2017 with a bang by introducing his fans to his brand new Off Numbers EP. Out on Carl Cox’s Intec DigitalOff Numbers follows on Stephan’s hugely successful previous releases on labels such as MOOD and Second State.

Out on the 27th of January, the EP comes in the form of two originals, both centered around heavy basslines and growing, frenzied crescendos. The title track is tenebrous, its hard-hitting drums a throbbing and threatening proposition that is augmented by a repeated melody. On the other hand, “Shaded” focuses far more on its bassline, interrupted by eerie percussions and metallic noises.

6AM caught up with Stephan ahead of the release:

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DJs and Rimowa: A Durable Love Story

 

If you follow your favorite DJs on social media it is likely you will have seen them post travel pictures at airports, train stations or in front of clubs (especially Berghain) with a Rimowa in tow.

Cologne-based Rimowa is one of the worlds best suppliers of high quality suitcases, with a matching price to boot. While their entire line oozes quality and durability, it is Topas, Classic and Pilot series that have become extremely popular with traveling DJs.  Initially developed in the 1950s as a specialized case for trips to tropical countries, the Topas became a world famous design classic and is still considered one of the world’s most solid yet lightweight suitcases ever built. The rugged aluminium-magnesium shell is designed to withstand the toughest strains and protect your records from humidity and water, protection also promised with the company’s polycarbonate series. Accordingly, Rimowa issue a guarantee term of 5 years, from the date of purchase, against defects caused by defective workmanship or material. Rimowa has even teamed up with Kompakt to produce DJ trolleys specifically designed for artists on the go, building a case where up to 100 records are securely protected by a specially developed rubber foam.

Secure, reliable, sturdy and manufactured with top-of-the-line materials, Rimowas have become part-and-parcel of the DJ lifestyle. Although there are definitely other fantastic brands on the market, it is no secret that DJs have been advising one another to choose Rimowas as a sound investment to both protect fragile content such as hardware and records, and to withstand countless days of globe-trotting around the world.

After replacing a Rimowa recently, Tiga took to Instagram to voice his opinion on the brand, “The changing of the guard. Rimowas are the “tree rings” of a djs life. Sad to see this one go. God we’ve been thru so much. This is essentially as emotional as I get. I took her back to the “Bon Voyage” shop at Tegel yesterday just to fulfil a sense of Providence- that’s where we first met.”

Enjoy the below selection of DJs with Rimowas.

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A photo posted by Ben Klock (@ben_klock) on

 

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A photo posted by Loco Dice (@locodiceofc) on

 

 

A photo posted by Lee Foss (@leefoss) on

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A photo posted by Adam Beyer (@realadambeyer) on

 

A photo posted by Solomun (@solomun) on

 

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Martin Eyerer and Ackermann Deliver Second State’s First EP Release of 2017

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Pan-Pot’s Second State imprint has announced its first release of 2017, a two-track EP entitled House To Techno which comes courtesy of Martin Eyerer and Ackermann.

It is no mistake that Martin, who founded Riverside Studio Berlin with Pan-Pot, and Ackermann have gone down a techier route than their usual work, as the title track and EP names so aptly suggest. “From House 2 Techno” adopts catching vocals and a classic Detroit sound coupled with hi-hats and a rapturous build-up, while “Inside” focuses more on percussions to deliver a track that is more suitable for bigger rooms than its darker counterpart.

Listen to “Inside” exclusively via 6AM below, as we catch up with both Martin and Achermann ahead of the digital release scheduled for January 20th.

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