Steve Aoki Shocks EDM Community By Admitting He Is Not An Actual DJ

News

Steve Aoki Shocks EDM Community By Admitting He Is Not An Actual DJ


Fans of US “DJ” Steve Aoki are in a state of shock after it emerged that Mr. Aoki is in fact a performance artist who has been engaged in a finely orchestrated and prolonged performance art piece that has encapsulated every aspect of his life.


The news emerged after it was revealed that Mr. Aoki has been awarded with a Special Achievement Award from the American Council of Performing Arts (A.C.P.A.) for the project which has taken up almost the entirety of Mr. Aoki’s adult life.


Speaking for the first time about the revelations, Mr. Aoki, pictured receiving his award from professional egoist, Kanye West, sought to explain the motivation behind the project.


“I wanted to explore the fickle nature of popular music fads by devising a public and onstage persona that could push the bounds of ridiculous behaviour to an extreme and still manage to get away with it.”


“For me it’s about trying to be as absurd and laughable as possible without any of the audience being aware of, or being willfully ignorant of, the sheer absurdity of what they’re witnessing. The EDM explosion for me was the perfect vehicle to explore that idea because it seemed like that audience were capable of mindlessly accepting the most crass gimmicks and personalities,” explained Aoki.


“The show and my life as “DJ” Steve Aoki has evolved over the years, ” he explained. “I’ve had to live every waking moment as this guy without ever breaking character. That’s always been the toughest part, seeing myself become this clown and never being able to say ‘Hey guys, it’s not real’.”


“I kept adding more and more unnecessary vulgarity to the show, bright flashing lights, topless performances, silly hair, Indian headdresses, trampolines. I kept thinking that at any moment people would realise that this was no longer dance music but that it was an absurdist pantomine and the game would be up. But no-one has ever even suspected.”


“Even when I started throwing cake into the audience, which I intended as a not-so-subtle reference to the circus that my show had become, the audience just lapped it up. No-one thought to themselves ‘Oh look, he’s started throwing cakes into people’s faces like a fucking clown, surely this can’t be legitimate dance music?’.”

Spokesman for the A.C.P.A., Arnold Trumball, described his admiration for Aoki’s project, “It’s a tour-de-force in method acting. He’s been living as this consciously asinine DJ for the last 15 years without ever breaking character. Can you imagine living every waking moment as the DJ character Steve Aoki? Churning out shit track after shit track. Attending shit gig after shit gig?” questioned Trumball. “Not being able to hold your hands up to even your closest friends and admit ‘my career as a DJ is an absurd joke’. That’s real dedication to your art.”

ClashMusic Dj Mix Podcast: Ellen Allien

ClashMusic Dj Mix Podcast: Ellen Allien

Founder of BPitch Control and Berlin’s first lady of techno

The esteemed founder of BPitch Control Records and Berlin’s first lady of techno, Ellen Allien, grabs the reins of the Clash podcast in the first of today’s two exclusive DJ mixes. Check out today's other mix, from Glasgow's Production Unit, HERE.




Needing little introduction, Allien is a musical and cultural icon, representing all that we’ve come to love about Berlin. She was there at the emergence of the city’s pioneering techno scene, from making mixtapes to playing at the early warehouse parties, eventually going on to produce a vast catalogue of her own material, along the way founding BPitch Control and even finding some spare time to design her own fashion range.




As you’d expect from someone with techno running through their veins, Ellen’s Clash mix is indeed a masterful exploration of contemporary club sounds, but one that covers far more than just the Berlin vibe which she has been instrumental in shaping. Included in her mix is the Detroit techno of American producer Ryan Crosson, a trippy prog track from UK club house pro Nic Fanciulli, and even a remix of a stomper by Justin Robertson’s old-skool big beat collective Lionrock.




The mix then melts out with the creeping beauty and dark disco of Ellen’s own ‘Flashy Flashy’, the latest single to be taken from her new album, ‘Dust’, out now on BPitch Control. 

Ellen Allien Dj Mix Tracklisting




1. Ellen Allien - Should We Go Home 

2. Ryan Crosson + Guti - You Have Got Me

3. Doomwork Aka Aki Bergen - Mama Baba

4. El Mundo + Satori - Jazztango

5. Lionrock - Paket For Peace (Holland remix)

6. Martin Beume - Slowly But Steady

7. Alland Byallo - Rare Bird (Dave Aju remix)

8. Decoside - Complex Decision

9. Nic Fanciulli - Caller ID

10. Octave One - The Greater Good

11. Late Nite Tuff Guy - Get Deeper

12. Ellen Allien - Flashy Flashy 

“Arte del sesso orale”: a lezioni di fellatio in Russia

MOSCA (RUSSIA) – Il corso si chiama “Art of oral sex” ed è aperto a tutte le donne che vogliono migliorare la loro abilità nel soddisfare il proprio partner.

Per partecipare a questa speciale lezione, si devono spendere circa 3500 rubli (85 euro), per tre ore e mezza di formazione intensiva. Ecco i passaggi chiave della lezione:

Time Warp 2014 (20°anniversary)

TIME WARP 2014 05 -04-2014

GET TICKETS HERE

The who's who of electronic music, the state-of-the-art in video, lighting and laser technology, a magnet for techno fans from all over the world - all of this is Time Warp in Mannheim. But Time Warp is much more than just the pure combination of music and technology. It is also a joyous come-together of the international techno scene and represents a fixed meeting place for the Time Warp community that has been formed across national borders with one thing in common: an immeasurable great love for electronic music.

It is a very strong feeling of solidarity that connects Time Warp so strongly with its audience, therefore turning this normal event into an annual mandatory one in which fans are already looking forward to it months in advance. And this is for a reason. Both musically and technically, Time Warp sets new standards again and again. Unforgettable past performances have been the reincarnation of Richie Hawtin's "Plastikman" in 2010, the collective sit-down during Reboots "Caminando,” the legendary 2008 closing, and the birth of the cult slogan "Gude mood Aldaaaaa"?

In 1994 we saw the launch of the first Time Warp. Back then it was held at a location called “Walzmühle” in Ludwigshafen. Finding itself in the middle of an emerging techno movement in Germany, Time Warp had enormous appeal with the party people there, although the experiences back then didn´t by far come close to the one of today. But along with the European techno scene, Time Warp has steadily grown and the space at the Walzmühle was no longer sufficient to accommodate the Time Warp event. After being held at a few spots in-between, the Time Warp was held at the Maimarkthalle in Mannheim in 2000, where it is still at home today!



Informazioni sul Time Warp Mannheim

il Time Warp di Mannheim è senza dubbio l'evento "gotha" per eccellenza e punto di riferimento internazionale per tutti gli amanti della musica elettronica.

Combinazione di musica e tecnologia, luogo d'incontro tra la scena internazionale techno e la comunità "Time Warp" che condivide la passione comune dela passione per la musica elettronica.

Ed è proprio "la passione" il collante comune e l'elemento di base che colloca il Time Warp nell'olimpo dei top eventi internazionali così seguito da essere definito dagli appassionati "un dovere" annuale.

Sia musicalmente che tecnicamente il Time Warp rappresenta l'innovazione e la continua evoluzione che definisce nuovi standard.

Nel 1994 il Time Warp decreta il successo dell'allora giovane Sven Väth. Il movimento techno da allora fa da enorme eco in tutta la Germania. L'evento acquisisce una estrema notorietà e le location iniziali iniziano ad essere inadeguate e troppo piccole per l'enorme bacino di utenza.

il Time Warp da allora è cresciuto in maniera esponenziale seguendo di pari passo la scena Techno europea. Nel 2000, l'evento si sposta da Maimarkthalle a Mannheim.

DESCRIZIONE PACCHETTO:

Per il Time Warp 2014 l'agenzia Angeli Pierre organizza vari pacchetti come di seguito riportato :

1) "Pacchetto volo/albergo" dalle principali città d'Italia.

La partenza può essere effettuata lo stesso giorno dell'evento (se disponibili i voli) oppure in base alle vostre richieste.

E' importante specificare i seguenti dati:

- Numero di partecipanti

- Data di partenza

- Data di ritorno

- Città di appartenenza (per stabilire il più vicino punto di partenza)


2) Pacchetto "pullman/albergo" con partenza il 05/04 da




Riccione - Rimini - Bologna - Modena - ReggioEmilia - Parma - Piacenza - Milano - Mantova - Udine - Venezia - Padova - Vicenza - Verona - Brescia - Bergamo - Firenze - Genova - Tortona - Torino- Roma - Taranto - Bari - Foggia - Pescara

Arrivo al Time Warp (a Mannheim) nel primo pomeriggio/sera. Al termine dell'evento (intorno alle 14,00) partenza per l'italia!!!

Il costo del pacchetto dipende dalla città.

Per un preventivo dettagliato inviare e-mail con i seguenti dati:

1) numero di partecipanti (non necessario)


2) città di appartenenza (per stabilire il più vicino punto di partenza)

Il costo dei pacchetti è comprensivo di viaggio a/r + ticket Time Warp (per alcune città è compreso anche l'albergo)



ORGANIZZAZIONE TECNICA:



INFORMAZIONI TICKET:



TICKET OPEN DAL 12/12/2013!!!!


SOLD OUT ANNUNCIATO COME ACCADUTO L'ANNO SCORSO!


Tickets Early: 66 €

Tickets Vip: 162€


INVIO TRAMITE EMAIL IN FORMATO PDF.

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Per info sui costi e su come acquistare i ticket o il pacchetto "ticket + bus/aereo/hotel":

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DEFECTED IN THE HOUSE ADE PARTY 2013

DEFECTED IN THE HOUSE ADE PARTY

On Friday 18th October from 23:00 – 05:00, Defected In The House hits AIR, Amsterdam for its now legendary ADEparty, with a truly spectacular line-up of contemporary house talent.

The Amsterdam Dance Event (ADE) is the leading industry event for electronic music and the biggest club festival in the world. The Defected In The House event is consistently one of the most talked-about parties of the week, and for the last three years has been held at the award-winning AIR. This year, Defected bring the combined might of MK, Nick Curly, FCL, Sandy Rivera, Noir, Franky Rizardo, Copyright, Sonny Fodera, and Sam Divine to the club for what promises to be another legendary night of house music.

The ADE is the biggest international club festival in the world for the whole spectrum of electronic sub-genres with 350 special events over five days in 75 clubs and venues around the city. The festival features the very biggest DJ and artist names on the planet, as well as a selection of the best upcoming talent making Amsterdam one of the best and most inspiring clubbing cities in the world. Each year, the ADE attracts 200,000 festival visitors, including 40,000 tourists.

For tickets CLICK HERE

The esoteric art of the opening DJ

The esoteric art of the opening DJ

No one seems to understand it. No one seems to respect it. And it might just be the most important part of the night. ALL STAR explains why the warm-up DJ deserves perhaps even more credit than the headliner.

There are many variables in producing a proper electronic music event. Some things are obvious: a proper space with quality sound and engaging visuals are part of the physics that create a comfortable environment for the crowd. If, for instance, the sound system isn't properly dialed in to the acoustics of the space, the performer, regardless of his or her talent, is going to sound like crap. The result is a lethargic dance floor and an angry performer who will not only expect to get paid but will never come back.

But there are many subtle factors that can keep an event from being labeled "epic" and instead relegate it to just "another night out." Fast bartenders, adequate bathrooms and a security crew that behaves professionally all contribute to a clubgoers overall perception. When it's done right, these things aren't even noticed. But when you have to stand in line for half an hour to piss in a flooded bathroom, while in the main room, everyone's mind is being blown by the DJ you paid a lot of money to see, your night gets flushed down the toilet.

A message from the opener
Dean Muhsin, a resident at Steve Lawler's VIVa @ MOS nights sounds off

I've been a resident DJ on and off for about ten years and am lucky to have the residency I have, but I've just recently begun to notice how marginalised some residents are becoming. Shorter sets and crappy slots mean that there's a fair chance that the guest will have started by the time anyone gets to the club. I know there are people out there who really believe that a resident/warm-up set is the real essence of DJing, but for some reason people seem to fall foul of that marginalisation.

That said, people like Secret Sundaze have got a wicked balance of residents/guests, so it's clearly doable. There's room for the resident DJ to become the focus of the night again, and not just because they're sometimes stuck in traffic and have to ask the headliner to start their set for them. (Thanks, Will Saul!)

The last crucial element in the event equation, though, is the opening DJ. At a live music event, if the opening band is terrible there is always a short break to switch out equipment. The headliner then takes the stage and the night moves on. But in a club environment the music rarely stops from the moment the first track begins. This continuous flow of sound is maintained until the lights are turned on at the end of the night. A good DJ taps into this flow and manipulates the energy of a room through careful programming and mixing choices. Mastery of this flow allows a DJ to take the crowd on the sonic journey which has come to define the all-night electronic music party. 

But the headliner almost never plays from the moment the doors open. One or more opening DJs are used to warm up the room, keeping the crowd entertained and the alcohol flowing until the headliner's designated time slot later in the evening. And many promoters seem to be unaware of how important this role can be. A DJ who isn't up to the task of opening can dissipate the energy on the dance floor before it has a chance to solidify. In a good scenario, the crowd will pack the bar and hug the walls until the headliner comes on. In a worst case scenario, the club will empty out before the DJ has time to mix in a new track.

In many ways, the warm-up DJ faces more challenges than the headliner. Consider this: The opener must start with a fairly empty room that slowly fills with generally sober people who aren't there to see them. 


The DJ must create an atmosphere out of thin air and at the same time set the stage for the musical narrative of the headliner's set. Steve Lawler, head of Viva Music who has headlined top venues the world over, agrees, "The warm-up's job is in fact the hardest and very important to how the whole night will turn out. If a warm-up does a good job, you can feel it in the air, and then usually 99% of the time, it's an amazing night."

The opening DJs biggest challenge is to program a set that will seamlessly sync with the DJ who will go on next. "The opening DJ has a huge responsibility; they can dictate the entire mood of the party," says Magda, of Minus Records. "You have to think about who you are opening for and how they play in order to avoid overpowering their sound." Each headliner has a definitive musical style that presents a unique programming challenge to the opener. "If I open for Theo Parrish I definitely will not be playing the same records as opening for Richie Hawtin. That's the fun of it though," she explains. "It's a challenge to get the different crowds worked up while complementing the main act at the same time."



At Club2Club, Theo Parrish was Magda's opening DJ


A good opener must have two things: an attenuated awareness for the musical progression of the night, and an extremely large and eclectic record collection. Craig Richards would concur. With a ten year residency at Fabric, London's most respected club, Richards is highly regarded as one of the best opening DJs in the world. Warming up a room is a position Richards fully embraces, "Over the years I have often opted for the warm-up slot. I find it a wonderful challenge which if played properly can result in maximum musical fulfillment."

Great opening DJs know their music and the subtle effects each record transition will have on a dance floor. DJ Yousef, the DJ and promoter behind Liverpool's legendary party, Circus, says for a DJ to successfully warm up a crowd "they need to be aware that the tempo, the groove, the energy and even the texture of every record must be seriously considered." This sensitivity to the way music influences the crowd allows the opener to begin the patient task of drawing people to the dance floor.

Dirtybird's Christian Martin describes it as such: "Your job is to peel people away from the bar, and keep building upon that small nucleus of early dancers that will eventually become a packed dance floor. It's important to pay attention to the mood of the floor and adjust the direction of your set accordingly, without going overboard too early." Martin's last point brings up another extremely important trait of great openers: restraint.

"I've [sometimes] had to kill the 
music altogether to reset 
the energy." - Lee Burridge

"I know a lot of my fellow DJs feel the pain on so many nights from an inappropriate, overly energetic and mostly far too big warm-up set," Lee Burridge laments. With over 25 years of experience, Burridge is universally recognized as one of the world's most talented DJs. He says great warm-up DJs "understand where the guest DJ starts from—not where they are two hours into their set. The energy needs to be left at a point where the guest DJ can comfortably continue from." Burridge told me that in many cases the opener plays records of such high intensity "I've [sometimes] had to kill the music altogether to reset the energy." 

"I've warmed up for many big names over the years and I realized a long time ago that the night wasn't about me alone," Burridge continues, "This seems hard to accept for a lot of upcoming DJs as they want the attention of the people. This attitude totally disturbs the gradual build of the night as a whole." Many young DJs see the opening set as their chance to show what they've got, but the result of this enthusiasm is exactly the opposite. Yousef states when an opening DJs set is "hitting them over the head with an iron fist" of uptempo, peak hour tracks, it "will always result in not getting another gig."

But there is more to opening a room than just keeping the tempo under 124 bpm and playing deep music. The signature of a great opener is defined by a devotion to the music he or she is playing. As Lawler explains, "you can tell when an opener is someone that has just gone onto Beatport's Top 100 [to buy their] Deep House [tracks] and is trying to do it, as opposed to someone who loves and collects the music they are playing. You can always hear passion in a DJ's set." 

Lee Burridge and Craig Richards: The ulimate warm-up duo

Craig Richards takes it one step further: "I'm absolutely certain that the music lovers, not the DJs, are fit for the job—the people who can forget themselves for a moment and deliver a groove, a beginning and a sense of belief." The best openers are in many ways the people who are true music lovers, the ones who obsessively collect obscure and eclectic music for the simple joy of it. These DJs know their music so well they intuitively know there is a right track to play in each moment for any audience.

Opening a room requires the ability to step outside what you want to play and, instead, to be conscientious of what the crowd is willing to accept. "As a DJ you have to find the middle ground of being yourself and being mindful of what you think will work on the dance floors of the world's clubs," Yousef explains, "I always play the music I love but I'm experienced enough to enjoy a broad selection of electronic music." Each DJ I spoke with emphasized the need for an opener to have an extensive range in musical tastes and, most importantly, the patience to hold back, and to slowly build the tension in preparation for the headliner. 

For both Lawler and Burridge, each sees the role of the opener as important as his own role as the headliner. Lawler tries and takes an opener with him to gigs, "so I know the energy and vibe will be right when I go on." But they each tell me it is often the promoter who chooses a DJ not fit for the role, or sometimes, Burridge says, "The promoter has been known to come into the booth and tell the warm-up to pick it up." In either case, it reveals a lack of understanding in how a night develops. Whereas a nervous promoter wants to see the dance floor packed with people pumping their fists in the air from the start, all the DJs I spoke with saw this as detrimental to the night as a whole. As Richards put it, "There can be nothing worse than an over-enthusiastic start—a soup that burns the mouth or curtains ripped open to let the light in."

But this ultimately leads to one question for the promoter: If you are going to spend the money to fly in and accommodate a world-class DJ, why not spend the extra time and money to get your guest a proper opener? With the high risk inherent in throwing an event coupled with a lack of understanding about the role of the opener, DJs who are picked to warm up a night are often inexperienced and more often than not, underpaid. A promoter can spend thousands of dollars on a headliner, and to rein in costs, will often only spend a couple of hundred on an opener.

So obviously, great opening DJs aren't in it for the money. Instead, these DJs are perhaps the purest music fan in every sense of the word. Since the opener's artistry is built upon subtlety, they rarely receive any accolades. The media often overlooks good warm-ups, instead focusing on the headliners, and only knowledgeable crowds will recognize the skill that goes into the nuance and restraint of slowly building the tension in a room. This often leaves only the headliner's gratitude as any sign of appreciation. 

In fact, the biggest reward an opener receives is the opportunity to explore musical territory a headliner often cannot. Playing opening sets "gives justification for buying records that you know will only sound right at certain times," says Craig Richards. "The chance to hear these records loud was and still is my driving force. Playing deep, quirky, delicate tunes at a time when they make sense is an utter pleasure to the man who seeks the truth for the music not the limelight." Successful venues and events have always recognized what a proper opener provides: The atmosphere that is the foundation of any event.

Vi ricordate dell’Amore Roma? Ci sarà un grande ritorno per il capodanno 2014!

22 lug 2013

Vi ricordate dell’Amore Roma? Ci sarà un grande ritorno per il capodanno 2014!

AMORE Music Experience is sharing & expectation

AMORE Music Experience is the sound of many hearts beating as one

AMORE Music Experience is the rhythm & passion

AMORE is back

Vi ricordate dell’Amore Roma? Uno dei massimi eventi nel nostro territorio e tra i capodanni più grandi,in fatto di presenze,d’Europa.

La notizia è ufficiale. Dopo diversi anni di assenza,ritornerà sotto una nuova veste: Amore Music Experience.

Ben 3 giorni. Dal 29 al 31 dicembre 2013,ovviamente a Roma. I primi 2 giorni avranno luogo presso lo Sheraton Hotel (e zone limitrofi),tra parties privati,showcase etc. L’ultimo giorno manterrà la formula del vecchio Amore Roma nella nuova zona fiera. (padiglioni,12 ore di musica non-stop etc)

E le novità saranno veramente tante. A breve maggiori info.

LINE UP:

Vitalic
Jon Hopkins
Clean Bandit
Carl Cox
Sven Vath
Extrawelt (live)
Paul Ritch (live)

Intanto si possono acquistare già i pacchetti hotel tutto compreso :

*1 Giorno Early Bird pacchetto hotel x 2 persone / AMORE Loves You / (solo 50 pacchetti disponibili )  A SOLI 228€

IL PACCHETTO COMPRENDE

-1 giorno in camera STANDARD X 2 persone allo Sheraton Golf Parco de’ Medici con Late Check-Out alle 16:00

-INGRESSO ALL’EVENTO 31 DICEMBRE AMORE MUSIC EXPRIENCE

-PACCHETTO OMAGGIO REDBULL IN CAMERA

-TRASFERIMENTO ANDATA E RITORNO DALL’HOTEL ALLA FIERA

************************************************************

2 GIORNI PACCHETTO HOTEL BASIC x 2 PERSONE / AMORE Loves You / A SOLI 429€

IL PACCHETTO COMPRENDE

“1 GIORNO IN CAMERA STANDARD  X 2 PERSONE Sheraton Golf Parco de’ Medici CON Late Check-Out 16:00

-iINGRESSO ALL’EVENTO 30 DICEMBRE

-INGRESSO ALL’EVENTO 31 DICEMBRE “AMORE MUSIC EXPRIENCE”

-PACCHETTO OMAGGIO REDBULL IN CAMERA

-TRASFERIMENTO ANDATA E RITORNO DALL’HOTEL ALLA FIERA

Per info sui costi e su come acquistare i ticket o il pacchetto "ticket + bus/aereo/hotel":

Taio Folies:
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AMORE 2009

AMORE 2008

Festival Mawazine

Mawazine

Location(s) :Rabat, Morocco

Years active : 2001–present

Founded by : Maroc Cultures

Genre: World music

Ticketing : http://clubtickets.com/

Website : http://www.festivalmawazine.ma


Mawazine ("Rhythms") is a festival of world music that takes place annually in the Moroccan capital: Rabat, featuring many North African, Arab, and international music icons. There have Mawazines editions since the beginning in 2001.
Mawazine is one of several events which are intended to promote an image of Morocco as a tolerant nation, with a post on the event's website declaring that the festival intends to promote and support Rabat, as a city open to the world. However, it is controversial as some of the country'sMuslim politicians have criticised the event for also "encouraging immoral behaviour". Artists such as Mariah Carey, Whitney Houston, Shakira,Mika, Sugababes, Stevie Wonder, Kylie Minogue, LMFAO, Pitbull and Alicia Keys have performed at Mawazine.
Mawazine is organised by Maroc Cultures.

2001
Mawazine began in 2001.

2008
Mawazine was attended by 1.2 million people and was located in nine venues across Rabat. The festival featured many artists from all around the globe, including Whitney Houston, Juanes,Goran Bregovic, George Benson, Hoba Hoba Spirit, Tony Allen and Issac Delgado.

2009
The 2009 festival, a nine-day event entitled "Rhythms of the World", was the eighth edition and began on 15 May, attracting crowds of one million people from cities such as Casablanca,Marrakech, Fez and Tangiers to Rabat. Admission cost between 100 and 500 dirhams (15 to 70 USD)1700 performers performed in 2009.

The opening three days featured acts such as Kylie Minogue, Alicia Keys, Stevie Wonder, K'naan, Hoba Hoba Spirit, Cheb Khaled, Najwa Karam, Warda Al-Jazairia, Ali Campbell (formerly ofUB40), and Johnny Clegg of White Zulu. Other musical acts to feature include Mali's Amadou & Mariam, Cuban musician Eliades Ochoa,The Joubran Trio, three brothers from Palestine,and Iranian ensemble Eshtiaq.

The festival opened with a concert by Ennio Morricone, accompanied by a Moroccan choir with ninety members, on the Bouregreg stage. This was followed by a Kylie Minogue performance on the OLM Souissi stage. Khaled's concert was attended by 50,000 people, whilst 40,000 and 30,000 attendance figures were registered for Kylie Minogue and Warda respectively.Stevie Wonder closed the festival on 23 May.

Najwa Karam's performance was the first in Morocco; it attracted about 60,000 spectators. Warda Al Jazairia was granted the Wissam Royal.

Setlist of Kylie Minogue (15th May 2009)

2010
The ninth edition of Mawazine took place from 21 May to 29 May 2010. Elton John and B.B. King performed at the OLM Souissi stage on the 26th and the 27th of May respectively. Julio Iglesiasperformed on 23 May. Sting closed the 10-day festival with a performance on Saturday, 29 May 2010. Other performers at the 10-day festival included Mika, Harry Connick Jr., Thievery Corporation, Al Jarreau, Deolinda, Angélique Kidjo and Carlos Santana.

The festival also brought famous Arab singers such as Najwa Karam, Tamer Hosny, Elissa, Wael Jassar, Majida El Roumi, Myriam Fares, Rami Ayach.

The Generation Mawazine competition launches the music career of promising young talent. This artistic competition, which has been run since 2006 as a fringe activity to the festival, sets out to find the talent of tomorrow and offers them a major springboard into the music business. Open to all styles of music, this competition gives the stage to new young talents and is judged along 3 predefined categories: rap/hip hop, fusion/neo pop and electronic music. This initiative gives unknown bands the opportunity to perform in front of the general public and media in a professional setting. The winning groups see their career launched in Morocco, produce an album and perform at the following year’s festival as established artists.

2011
The tenth edition was held from 20 May to 28 May 2011 at the OLM Souissi. The show was opened on the Friday with traditional and international performers. Notable performances which followed were Kanye West and Spaniard Ivica pica on the 21st and the English pogirls group Sugababes on the 22nd. The following days saw legends like Yusuf Islam, Quincy Jones, Joe Cockerand Lionel Richie take on the big stage. The event was again lightened when it had Shakira alongside Swiss DJ and producer Yves Larock on the last day.

Setlist of Kanye West (20th May 2011)
Setlist of Shakira (28th May 2011)

2012
The eleventh edition was held from 18 May to 26 May 2012 at the OLM Souissi as well as other stages on Rabat. The show was opened on the Friday with LMFAO during their Sorry For Party Rocking Tour. Also other following performances by Pitbull (Planet Pit World Tour), Evanescence (Evanescence Tour), Scorpions (Get Your Sting and Blackout World Tour), Jimmy Cliff, Nigel Kennedy, Khaled, Gloria Gaynor (in Mohammed V theatre), Lenny Kravitz who spent his birthday on stage, and without forgetting the epic finale: The historical performance by the American divaMariah Carey (exclusive concert "doesn't belong to any of her tours").

House DJs were Yolanda Be Cool, and DJ Abdel.
Setlist of LMFAO (18th May 2012)
Setlist of Pitbull (19th May 2012)
Setlist of Evanescence (20th May 2012)

Setlist of Scorpions (24th May 2012)
Setlist of Lenny Kravitz (25th May 2012)
Setlist of Mariah Carey (26th May 2012)

2013
Mawazine took place from the May 24th to June 1st.

International stars in OLM Souissi stage : Rihanna opened the festival as a part of her (Diamonds World Tour), that concert was the most crowded concert of all time with 150.000 people attended, that concert broke records, then Jessie J (Nice to Meet You Tour), MIKA, Sexion d'Assaut, The Jacksons (Unity Tour), David Guetta, Deep Purple (Now What? World Tour), Enrique Iglesias during his (Enrique Iglesias India Tour) featuring the Moroccan-Swedish pop star Loreen, the international R&B icon Cee-Lo Green is the opening act for the last night of the festival and finally Taio Cruz for the finale.

Setlist of Rihanna (24th May 2013)
Setlist of Jessie J (25th May 2013)
Setlist of MIKA (26th May 2013)
Setlist of The Jacksons (28th May 2013)
Setlist of David Guetta (29th May 2013)
Setlist of Deep Purple (30th May 2013)
Setlist of CeeLo Green (1st June 2013)
Setlist of Taio Cruz (1st June 2013)
Arab (oriental) stars in Nahda stage : Day 1) Walid Taoufic. Day 2) Mouhcine Salahdine, Sherine Abdel Wahab, Farid Ghennam. Day 3) Bouchra Khalid, Mohamed Mounir. Day 4) Rabab, Cheb Mami. Day 5) Abed, Najwa Karam. Day 6) Zakaria Ghafouli, Assi El Hellani, Mourad Bouriki. Day 7) Shada Hassoun, Ahlam. Day 8) Hatim Ammor, Hoda Saad. Day 8) Leila Al Maghribiya, Ahmed Chawki, Tamer Hosni.

Moroccan scene in Salé stage : Siham, Jil Ghiwan Jalal, Ghiwane Salwan, LooNope, Jbara, Mjid Bekkas, Aouatif, Mohamed Anbari, Fatim Zahra Laaroussi, Atika Ammar, Numedia et Mallal, Izenzaren Abdelhadi, M.boy, Barry, Casa Crew, Hamid Kasri, Chaht Man, H-Kayne, Don Bigg, Ben Moussa, Hajib, Rachid Lamrini, Mohammed Iskandar, Najat Atabou, Tarik Laamirat,Said Mouskir, Hamid Hadri.

Other stars in so many other stages : Haj Youness, Amir Ali, Leila Lamrini, Tinariwen, African United, Gnawa Diffusion, Amadou & Meriem, Blitz The Ambassador, George Benson, Bond Girls, Sandra Nkaké, Lotfi Bouchnak, Abdelwahab Doukkali, Patrizia Laquidara, Ensemble Dragon.

2014
To be announced later this year.

Italiani, non viaggiate con Ryanair, non ne siete in grado!

Italiani, non viaggiate con Ryanair, non ne siete in grado!

Davvero. E lo dico con tanto affetto.
Italiani, non potete viaggiare con Ryanair…proprio non é nel vostro DNA. Non ne siete in grado.

Evitate. Prendete Alitalia o qualsiasi altra compagnia. Spenderete il quintuplo, ma voi ci risparmierete in salute ed il resto dei passeggeri risparmierà in tempo.

Davvero dico. Perché quando fate in check-in, dovete aver giá stampato il biglietto a casa. E non lo sapete fare.
Anche se Ryanair vi ha mandato 10 mail dove c’era scritto di stampare il biglietto o si paga la penale, voi probabilmente non avete neanche letto la mail. O forse non sapete leggere, la mail.
Fatto sta che arriverete al check-in senza il biglietto.
E li urlerete, perché voi avete già viaggiato decine e decine di volte con Ryanair e non vi avevano MAI chiesto il biglietto prestampato. Urlerete e vi renderete ridicoli elencando le decine di aeroporti dove avete preso un aereo Ryanair che da SEMPRE chiede di stampare il biglietto. Tranne a voi.

Passato questo peserete la vostra valigia, che sarà sicuramente OLTRE i 15 kili. Perché a voi non é mai capitato di avere limiti di peso alla valigia. Avete viaggiato decine e decine di volte con Ryanair. E allora urlerete ancora, incazzandovi con un impiegato aeroportuale che non ha niente a che vedere con Ryanair, ma sarà colpa sua che non vuole passarvi la valigia. Non é colpa vostra se non avete letto le istruzioni che sono le stesse da anni. E’ colpa di quello sfigato al banco, dipendente di una società che NON é Ryanair.

Al controllo metal-detector le guardie vi faranno buttare i flaconi di shampoo e l’inutile profumo da 100€ che volevate imbarcare. E voi avete già viaggiato decine e decine di volte ed una cosa del genere non vi era mai successo. E sarà colpa di Ryanair, perché vi deve vendere il profumo in volo. Mica sono norme di sicurezza mondiale sui liquidi in cabina. Non lo potete capire.

Una volta arrivati al gate, non siete in grado di capire che qualcuno ha pagato l’ingresso prioritario per poter essere sicuro di sedere vicino ai propri compagni di viaggio. Non é giusto. E’ per sgubbare più soldi. E quelli sono cretini che li pagano i soldi in più. Oppure i soliti raccomandati. E voi non potete capire la vera motivazione.

E quando, finalmente a bordo, la cappelliera non si potrà chiudere perché il vostro bagaglio a mano é troppo lungo o troppo alto, non capirete che la colpa é vostra, perché le dimensioni del bagaglio a mano vanno rispettate per un certo motivo. Sarà colpa delle cappelliere di Ryanair che sono troppo piccole, perché vi devono fare per forza imbarcare il bagaglio. E quindi picchierete a forza la cappelliera cercando inutilmente di chiuderla. Ma non ci riuscirete, perché nelle decine e decine di voli avete sempre usato quel trolley.
Ed allora vi renderete ridicoli di nuovo, perché l’hostess vi spiegherà che non c’è problema, prende il bagaglio ed il nominativo e lo troverete insieme agli altri a fine volo.
Ma la stronza parla inglese, e voi non siete in grado di parlare inglese. E gli urlerete in italiano che é inammissibile che il personale non parli italiano. Anche se state viaggiando con una compagnia Irlandese. Loro devono parlare italiano.
Perché si, é una compagnia privata Irlandese, mica una Onlus internazionale. Se decidono che le hostess devono parlare solo swahili, é una politica privata di una azienda privata, e possono farlo. Ma come potrete mai accettare che chiunque nel mondo non parli Italiano???
E quindi vi chiederà un documento, e voi urlerete TENCHIU’, e quando vi chiederá almeno il nominativo da associare alla valigia, voi risponderete sempre  OK TENCHIU’ OK TENCHIU’. E sarete gli zimbelli di tutti gli anglofoni sul volo.

Ed infine, a terminare la vostra performance, appena l’aereo tocca terra vi alzerete ed aprirete la cappelliera. E quando l’hostess vi inviterá a sedere e mantenere la cintura allacciata finché l’aereo non é completamente fermo, lo dirà in quella lingua incomprensibile, e voi non la potete capire.
Qui vi verrà incontro, vi dirà di sedervi e di rimettere la valigia nella cappelliera. E voi cosa direte? OK TENCHIU’ OK TENCHIU’. Maledetta lei. ( grazie a Ubbo per il suggerimento )

Quindi, davvero, perché vi ostinate a viaggiare con Ryanair? Non ne siete in grado!!!!

Viaggiate con Alitalia. Il biglietto costa anche 10 volte di più, ma che vi frega? 
Potete imbarcare quante valigie volete, il personale parla italiano, non ci sono sovrapprezzi e potete arrivare in aereoporto con il solo documento.

Il fatto che Ryanair costi poco perché campa esclusivamente di kili di troppo, priority, panini e bibite, non lo potete capire. Sono stronzi che vogliono solo guadagnare.
Dovrebbero farvi pagare il biglietto 10€ e farvi fare anche un pompino a bordo, mentre vi offrono il caffé e vi regalano un profumo.

Alitalia é una compagnia seria. Non l’avete scelta perché costava 800€ contro le 10€ di Ryanair, ma non potete capire PERCHÉ costasse 790€ di differenza. Proprio non potete.
E anche se avete pagato l’extra del biglietto non stampato, i 5 kili di troppo della valigia ed il vostro bagaglio a mano é finito in stiva, avete pagato…tié…300€ in totale….sempre 500 in meno rispetto Alitalia, ma tutta la bile prodotta sarebbe rimasta buona al posto suo.

Quindiperché incazzarsi in questo modo? Evitate! Davvero!

( ed io mi sarei risparmiato urla, strepiti, file più lunghe e la vergogna di essere Italiano. )

NOT SORTED FOR ES AND WIZZ: WHY A SENSIBLE DEBATE ABOUT DRUGS AND CLUB MUSIC IS STILL A LONG WAY OFF

Earlier this month, Madonna demonstrated once again how much the bar for controversy has been lowered of late.

Making the tamest of drugs-related innuendo in asking a Miami audience whether they’d “seen Molly”, she drew the ire of superstar DJs Deadmau5 and Paul Van Dyk. The former tut-tutted, “Such a great message for the young music lovers there,” rather like Ann Widdecombe in a Mickey Mouse costume, while that renowned pundit Van Dyk thundered that the most successful woman in pop had made “the biggest mistake of her career”.

“SUCH A GREAT MESSAGE FOR THE YOUNG MUSIC LOVERS THERE,” SAID DEADMAU5, RATHER LIKE ANN WIDDECOMBE IN A MICKEY MOUSE COSTUME.

Tempting as it was to ascribe such interventions to Madonna’s formidable PR team making use of some handy jesters to manufacture an air of rebellion around her, the kerfuffle was more indicative of two things. Firstly, an undercurrent of resentment that someone as old, mainstream and female as Madonna should unashamedly continue to encroach on club culture – never mind that Deadmau5 and Van Dyk, at 30 and 41 respectively, are hardly in the bloom of youth themselves, or that Madonna has been making better house records than either are capable of since they were in school uniforms. Most odd has been the charge that the drug references peppering Madonna’s current album campaign display her desperation to be “down with the kids”, when clubbers worldwide have been ingesting MDMA in copious quantities for the entire length of her career. It makes somewhat more sense to interpret her imagery as an alignment of an iconic pop star with an iconic drug.

But then, it’s hardly surprising that this fairly obvious historical fact has been overlooked. The faux-outrage is also illustrative of a continued refusal to talk about drugs and their relationship to club music in an intelligent, grown-up manner, even among the dance community itself. One expects this sort of sanctimonious, hypocritical, see-no-evil nonsense from politicians, but men who have made vast amounts of money from punters drugged to their eyeballs don’t even have that excuse.

THE FAUX-OUTRAGE IS ILLUSTRATIVE OF A CONTINUED REFUSAL TO TALK ABOUT DRUGS AND THEIR RELATIONSHIP TO CLUB MUSIC IN AN INTELLIGENT, GROWN-UP MANNER.

For one thing, it’s impossible to divorce the shape of the music being made from a clubbing community’s drug of choice: in order to analyse the music, the effect of the drug has to be taken into account. (This is not the same as having to actually do the drugs oneself, of course – though perhaps the professed unfamiliarity of Deadmau5 and Van Dyk with MDMA could explain their rote, workmanlike music.) Such links have been well documented over the years – the blissful serotonin rush of MDMA and the generous embrace of house music; the ketamine-addled mind’s obsession with hallucinated minutiae and the endless corkscrewing details of some branches of mid-’00s minimal techno; the slow, smoky atmospheres of pre-2007 dubstep and its associations with weed. But there are also hidden effects, not so obvious at the time: the split branches of dubstep have been much discussed, with one branch lurching beerily overground and the other picking up elements of house, garage and R&B to metamorphose underground once again. But how much of that has been attributed to the 2007 smoking ban in England, since when the smell of surreptitious spliffs in club venues has been efficiently eradicated? Of course the vibe of the dancefloor would change accordingly – and of course the music would change with it.

DISCUSSING DRUGS PROPERLY SHOULD BE ABOUT NEITHER FEARMONGERING NOR EVANGELISM.

Discussing drugs properly should be about neither fearmongering nor evangelism – but about seeking to understand how the existing, widespread use of them shapes our quotidian lives in terms that go beyond black-and-white pro or anti stances, including the harm they can cause as one of their many facets. It’s a conversation that is vitally necessary in general terms, not just within the dance community – drug use has been connected to stories as massive as the financial crisis and the phone hacking saga, for example, and it doesn’t take much imagination to link the hubristic nature of those scandals with rampant cocaine abuse in the relevant industries. But if even leading figures in a community which is famously open about such subjects are demanding smelling salts and throwing their hands up in horror at the slightest of references, one must sadly conclude that any sort of sensible debate about drugs is a long, long way off yet.