NATURAL PROGRESSION WITH KASKADE

We kick off the New Year with one of our favorite DJ/Producer and Grammy nominated artists, Kaskade. We have a number of his mixes in our playlists to enjoy for activities that we do throughout the day and night. He ended the year with a fantastic NYE show that was socially distanced at a drive-in that was an extension of a number of the shows that he was able to safely perform at as we navigated 2020. We caught up with him to talk about how he got his start, his passion for music, how he stays inspired and what he's working on.

ATHLEISURE MAG: We’ve been a fan of your music for a number of years as it’s on a number of my playlists, love working out to it at home, spinning to it at SoulCycle and seeing you at a number of shows most recently at Electric Zoo here in NY in 2019. When did you first fall in love with music and when did you realize that you wanted to create music?

KASKADE: Wow well thank you for the support over the years! I’ve been under the influence of music my whole life, not sure when it took over. I guess the obvious answer is when I was growing up in Chicago, getting educated in these clubs by the world’s best teachers. At some point I just decided I didn’t want a safety net, it was going to be music or nothing.

AM: You have had an amazing background in music from being a record store owner, an A&R director, DJ, songwriter and producer. How have these roles fueled the way that you approach music?

K: Every experience colored the story, gave it some texture. Running a record store is not an easy way to make any money at all but it’s an embarrassment of riches if you think about the fact that you just need to listen to music all day, know who wrote it and what other songs it might reference so you can recommend more music to the person who loves that one song. Working for a label was a huge deal because I got to be inside the machine and see what made it tick. Moving forward from there to playing out and producing and songwriting were just natural progressions like playing on monkey bars. Let go of one and it leads you to the next. They were all important to get me here.

AM: Who were your mentors or sources of inspiration when you began your journey as DJ?

K: I really looked up to the Chicago guys, naturally. They were untouchable and wildly cool. I began by listening to the Hot Mix 5, where they played old disco and B-boy mixes. Frankie Knuckles, Jesse Saunders, and when Steve “Silk” Hurley put out “Jack Your Body” it was over, I was done for. There was never an option to not love this music and make it my house.

AM: How do you define the Kaskadesound?

K: Yeh, I really try not to. Let the music speak and so forth.

AM: How do you stay inspired when it comes to creating new sounds?

K: I try not to overthink it. If you go looking for inspiration it just slaps you around. Is the sky pretty enough to write about? Is the way the ocean is moving lyrical? That girl that just fell down rollerskating, is she my muse? I can’t search for it or I come up empty. But if I leave myself open to remember what’s happening around me, the experiences I’m hearing about and sharing with friends, taking in memories of beauty instead of filming them, I find that they come to me at the times when I need them.

AM: When you begin working on a new song or album, what’s your process in terms of how you begin to create it?

K: I have a hard drive full of ideas, songs that are not right for other projects but needed to live. Usually, I'll go there and start pulling things apart I try not to ever think “this song will begin here, move there and then finish all the way at that point." I put it together in the way that makes sense at the time, then let it rest. Sometimes when I pick it up again, there’s one line that stands out or a lick I hadn’t really felt that suddenly punches me in the stomach. Music is so subjective, always just a reflection of what is happening to a person in that moment. So the idea factory might be full of stuff I hated3 months ago but after my last trip to the supermarket is going to really speak to me.

AM: How do you decide on new projects that you want to take on or those who you wish to collaborate with?

K: It’s usually friends of friends of friends. I can reach out to an artist I think is doing something interesting but there are so many gatekeepers, even in my own camp. It’s trickier than you’d think just to get a conversation. So I like to keep it close, with up and coming people who are working hard in the same way I did. Putting in the time, putting the product out there and hustling in all the ways. If someone hits me up with a line or vocal that rings my bell I’ll always say yes. I don’t really need them to be “the next big thing." I just need them to bring it for our collaboration.

AM: Is there a collaboration that you have yet to do that you would like to see happen and is there a song or album that you would have liked to have been on?

K: Of course everyone has their dream collabs. If Sade hit me up I would have to say no because I would actually die, RIP. I’ve been watching new talent like Gus Dapperton who is interesting as well as someone like Kaytranada and feel like if everything lined up there would be an interesting tapestry there.

AM: There are a number of songs that are on our playlists like Sexy with Kosha Dillz, Lick It with Skrillex, Room For Happiness with Skylar Grey, Move For Me with Deadmaus, Sometimes and your remix of Imag-ine Dragons’ Believer – to name a few. What have been some of your favorite songs that you have created and/or people that you have collaborated with?

K: I get asked this question a lot and never have found the right answer. Honestly, I’ve listened to and played all of my music so much over the years that my favorite ones become whichever ones I haven't heard recently.

AM: What was the moment when you realized that you had made it?

K: In my mind I’ve made it and blown it so many times that it’s just a blur of trying. Always putting in the time, sometimes it works and sometimes it doesn’t. I guess making it just means that you have the opportunity to continue to work.

AM: You have played a number of festivals and were a pioneer in the concept of Las Vegas residencies, what is it about these environments and playing live shows that you love?

K: It all comes down to the energy of the audience. The show will live and die by what they’re feeling.

AM: What is your favorite festival to play?

K: Sun Soaked.

AM: You’ve been performing via your Road Trip series. How did this come about and how did you decide what cities would be included?

K: It was the most literal instance of necessity being the mother of invention. Obviously with COVID we had to get creative about performances. It was safety first, timing and location second, then the logistics of how can we make this cool and a really new experience for everyone. There were a lot of challenges and I think as we move forward it will only get better but I'm really proud of how we rolled it out and crazy impressed with the audience for respecting the safety guidelines the way they have. We all want what we had before but we all are appreciating what we can get now.

AM: We're assuming that because of the success of that series, that your recent NYE performance was an extension of this as well?

K: Absolutely. When Road Trip succeeded like it did we knew that we could pull NYE off safely as well. Even with the strict guidelines and a curfew before midnight, we got our party.

AM: Are there plans for future Road Trips?

K: Absolutely.

AM: What do you want your legacy to be when people think about the impact that you have had in music?

K: I just hope that people will understand my true love for music. Whether they dig what I created or not, if a person can look at what I’ve done and pull the true intent out of it, we are good.

IG @Kaskade

PHOTOGRAPHY CREDITS | Mark Owens

Read the Jan Issue #61 of Athleisure Mag and see Natural Progression with Kaskade in mag.

THE DROP WITH STEVE AOKI

We're sure that we have all been listening to a lot more music as we have navigated these past few months as it's a way to transport ourselves to another level even when our environment may look way to familiar at this point. This month's cover of Athleisure Mag is entertainer, DJ, record producer, music executive and entrepreneur Steve Aoki. We've always been fans of the energy that he creates when he's at his shows, his music as well as his focus on putting good into the world with The AOKI FOUNDATION whose primary goal is supporting organizations in the brain science and research areas with a specific focus on regenerative medicine and brain preservation.

In addition to our virtual cover editorial shoot with Steve, we delved into his career, his label DIM MAK, his placement in the Smithsonian Museum, the importance of diversification while being true to the core of business, Neon Future series, Blue: The Color of Noise and his process in music and collaborative projects.

ATHLEISURE MAG: What was the moment when you realized that you wanted to be in the entertainment industry?

STEVE AOKI: Oh man entertainment is such a broad word and some of these answers are probably not going to be straight forward. I got into music when I was a teenager and then that became my whole life blood. Everything I did was involving music in every facet of life. It just became my lifestyle. From the friends I chose, to the food I ate – when I was growing up as a teenager – there was a very specific kind of music that I listened to and everyone was vegetarian. Pretty much everything down to the way that I dressed. It just became – it just became me so. So once I figured out what I wanted to devote my life to, that of course, changes over time. So from when I was a teenager, to college, to post college, young adult – my music style changed and the way that I interpreted music and played music changed as well.

So, I was in bands in the beginning and then I became a DJ and then at that point, in the early 2000’s, I actually started seeing that what I was doing with music was actually making a profit. It was making money. Because up until then, I never looked at music as a profitable enterprise. I never thought about it that way because you give so much to something, if you really care about, it’s not like you care about getting something back. What you get back is the love that it gives you, the feelings that it gives you, the community that it brings to you. As I started DJing, I started realizing that at that point I was DJing small clubs and festivals. That’s really when that major moment came when I was like, “wow I’m on a big stage and I need to not just play records and music” – which some of them were my own and a lot at that time, were of the culture. It then became, how do I engage with these people and entertain these people?

So then that term, “entertainment” came into the fold much later in my career. I would say that it came into the fold when I played Coachella the second time in 2009, not even the first time. It was that moment when I had the budget and I could build out the stage design and I could think about ideas that could present to different parts of my show like stage diving. These stage dives aren’t like a moment where you are methodical, you feel the moment, everyone’s ready for it and you jump into the crowd. There are moments when you think, this is going to engage with people, this is going to be entertaining. I bring my raft out and I start floating on the people, they haven’t seen that yet – that’s entertaining. There’s all these little things that I did with the people like the cakes. It’s an entertaining part of a Steve Aoki show. People remember for the rest of their lives and they’ll say, “40 years ago I saw a Steve Aoki show, I don’t remember the songs but he did cake my friend in the face and it was the best day of her life!" You know what I mean?

AM: Exactly yeah!

SA: I would say 2009 it all came together. Long answer for you!

AM: But that’s a great answer though. It’s all about a progression and just how things come together.

How would you define your musical style?

SA: My musical style is very fluid and of the moment and I like that. I like that like, it’s very much a gut and it’s based on feelings and it’s always going to change. It’s always going to change with my feelings and however way I feel about things or the moment on how I internalize that and not just consume, but how do I create that and how do I create from that?

I think that that’s something that I learned at a young age. When you are inspired or when you absorb something that makes you feel a certain way that it hasn’t made you feel before, like you know the best way for me to engage with that feeling is to create from it. It’s like anything, when you do it over and over again, you just get better at the process of doing it. You might not be great at it in terms of the output, but you get better at the process and that’s what’s more important than the output because the output is entirely subjective. Whether someone likes it or not is not what’s important. That’s another thing that I learned through this whole thing – whether people like my music or my output shouldn’t reflect why I did it and why I liked the process of it. I think about that question and it’s very complex. It’s not just I’m EDM or I’m this. Music is always going to change and it’s based on feelings. If you take down all the identities, all the titles and the genres – if there was no such thing as hip hop or rock or EDM and people were just like, “yo I just like the song.” When you hear a song for the first time and you’re listening to something that is totally different – you shouldn’t be limited to, “this is weird that I like it.” It shouldn’t make you feel weird. If it makes you feel really good, then that’s the whole point of it.

AM: Right and sometimes listening to the same artist and the same song at different points in your life, have a different connection and you can enjoy it. Our co-founder’s great uncle was tenor saxophonist, Joe Henderson and as a kid hearing him, she didn’t respect the fullness of his work.

SA: Yeah.

AM: And then in college, there was a whole other world of understanding that gave those songs meaning.

SA: Right right!

AM: You are someone who has worked with so many artists across so many different genres as a DJ, musician, producer, music exec – what is that process like for you when you’re thinking of collaborating with somebody?

SA: Yeah, when I’m collaborating with different artists, I think that one of the biggest lessons that I have learned is to just go in there and go in with a blank slate. A lot of people want you to come in there with all of your ammunition and basically all of your knowledge base. I’d rather go in there as a student. You know, they want to work with you and at this point in my career, they want to work with you too! I know what I can bring to the table, but it’s almost like when you watch an improv comedy skit, you never know what’s going to happen. Like, “hey someone say an action – running, someone say a sport – wrestling,” and then you kind of take those moments and you just be free on where it will go. That journey is really exciting to come from that place. Of course, your intuition and experience in terms of how and the way you process and supply chain your music and the way you work your music – how you’re going to work all of that – it’s innately going to come out. Sometimes you need the structure, but I prefer having the blank slate for the most part. Unless if you’re on a time crunch – a time crunch is a whole other story. Because then I’m like, “ok I just need to have the hook.” From the hook, I’m able to build you know – I can build that idea. I generally start from there if I can’t get into the studio with the artist. I just need a hook. I just need that part that gets stuck in my head and I will allow that to just linger in my head for a long time and then melodies start coming out in the studio and then I pick the best one. You stay on that melody for a day or two to make sure that it’s the right melody – because sometimes the first time you’ve heard it, it’s the best thing that you have ever heard and then you realize a day later, “oh my God, it’s awful.”

AM: Definitely! What’s that like when you have something that’s already existed. We love Michael Jackson – Thriller (Steve Aoki Midnight Hour Remix) and I also like Steve Aoki & Darren Criss - Crash Into Me cover of Dave Matthews Band. When people already know the songs, do you have a different approach when you’re deconstructing it to make it your own?

SA: Yeah, yeah exactly. When I do remixes of my own tracks – like in the case of Crash Into Me with Darren Criss (Glee, Hollywood, The Assassination of Gianni Versace), I can’t play the original at my own shows because it’s too mellow. When I’m playing an EDM show, I need that energy bursting at the seams and I need that drop to do exactly that. I need the dance floor to be bouncing. It’s all about Darren’s voice, Dave Matthews incredible lyrics, the melody and you combine that with a huge drop that’s signature to my sound and people will just lose their minds you know? You want to push purposeful.

AM: Are there genres that you've yet to do that you want to place the Aoki touch on?

SA: Yes. I mean there is no genre that can limit me. I just – I want to work with every genre and I really want to keep spanning the globe. That’s the other thing to, I travel so much and I’m so fortunate to be able to hear and know and learn about not just what’s happening in different parts of the world that are already popular, but also like what’s brewing. What’s brewing in South Africa, when I was out there, I was listening to some music and it was like, “yo this is the next wave in South Africa.” I want to know about it and I want to meet them. I want to hear the songs and I want to get the vibe, the flow and the dance culture that’s with it. You know, music brings people together so you have to understand what kind of dance moves that they are doing to it. How are they bringing it to their culture. Basically, I just want to keep expanding, keep exploring and it’s limitless. There’s always something new out there.

AM: How did you feel being the first EDM artist to be included in the Smithsonian? How impactful was it to see your gear housed in the same space as DJ Bob Casey’s from the 50's as well as Grand Masterflash’s turntables and now you’re literally being enshrined in such a historical place?

SA: Even when you say that out loud …

AM: It’s mindblowing.

SA: It’s totally wild you know? I remember when I went to the Smithsonian after they asked if we would be part of it. I met with them and did the interview there and walked through it and I felt like I was leaving my body and watching myself and I was like, “holy shit!” I just freaked out. I mean, it’s incredible you know – an incredible feeling. It’s the kind of thing that you’ll say, “wow in 60 years someone is going to say in the 2010’s there was an Asian DJ and there was a thing called EDM and this is what people did when they went out to festivals. And here is a typical show.” It was really cool to think that wow, 60 or 70 years later, someone is going to look at that and say, “that’s cool.” And you know, in that regard to, I’m proud that you know, I’m representing for Asians in that way too.

AM: As someone who is as busy as you are, who does travel so much, why is fitness, health and wellness so important to you?

SA: Oh God, it’s so crucial and integral. You have to train your body and mind to be able to run the marathon over and over again. You can’t just wake up – before you get out and run, you have to stretch. Before you do anything – I mean, I’m stretching constantly and that stretch is mindfulness. And as I do more mindfulness, actively, and I start learning more about myself – my mind, my body rhythms – it’s really fun. When you’re sitting there meditating, some people think, “oh it’s so boring.” When you get into that space, you get into where you’re finally supposed to be – it’s incredible to get into that space where nothing else really matters. That phone call, that schedule – all these things in life – comparing yourself to this person to that person – that thing – the anxieties of the world. If you can calm all of those things, it’s a really wonderful place to learn to get to. I think that it’s not just for someone like me that was running around like I was prior to COVID-19 like I did, I think it’s really helpful for everybody. For me especially, I need to absolutely make sure that I’m on the practice and I just love having it.

AM: Just looking at your portfolio, it’s so expansive between your music, Pizzaoki, your label DIM MAK as well as DIM MAK En Fuego, your clothing lines, companies that you have invested in like Liquid I.V. which we are huge fans of. How important was it for you that regardless of the vertical, to diversify your portfolio beyond your industry that you work in whether it’s creating ventures or investing?

SA: I mean, yeah, in life, I think that diversification is always a positive. Of course, you know it says a lot when you see someone that dives into their craft 110%. I’ve seen that in Japan especially, with artists that’s into their craft whether it’s even sushi chefs that spend their entire life just focusing on that and I love that – I love that. I’m such a fan of that and I admire and I respect that. It’s important that I have that too because my main core the whole of my operation is music. Music creation, music production and playing – playing my music out to the world. That has to be grounded. That has to be an anchor and platform and if I don’t have that, I can’t diversify. I think what the important lesson is here – is that diversification is always positive. You need to have your main business, whatever it is, whatever your main passion is – it has to be grounded so deeply into what you do and you have to be a craftsman in that space. Once you have that, then you can start building outward. You know, we only have one life, experience it. Experience as much as you can. All of these different things that were created in all of these different worlds is extremely fun for me. I enjoy it. I love it and if I didn’t love it, I wouldn’t be doing it. You have to love what you do and you have to love the process – not what is actually going to be in the end result. It’s always about the process.

AM: With so many artists, because of COVID-19 doing their performances virtually and I know that you’re known as a Techno Futurist Optimist with an interest in the intersectionality between humanity and technology, how do you think this digital reliance will impact the industry long term once we’re able to get back into a new normal.

SA: I think that in a hopeful sense that we will all get back to what we all love. You can’t deny live experiences and live shows. There is nothing that compares to that. A virtual show is like 1/10th of the experience and not a 100% of the experience. That’s why they were so big all around the world. We’re social creatures and beings. We love being around people and experiencing things together. We’re not a solo species. We need to feel energy and those feelings with other people. You can’t deny that and I think that hopefully, there will be a vaccine that will be administered around the world where we don’t have to worry about COVID deaths and COVID tragedies that are happening. But until then, the digital space is what I had to do. I think that all of us have had to take that because now there is an infrastructure being built around the digital space of experience and it’s evolving quite quickly. You know, I just played an Oculus show where you put on an Oculus headset and you’re talking to people from all around the world. As a fan watching the show, you can look to your right and your left and there’s another fan watching that same show from a different country. You can actually socially engage with them. The infrastructure is being built in such a way that there’s going to be more of a catch and they will be able to bring more of a better experience. I think that once we get back to IRL shows, there will still be that people will want to do that and be apart of that. I think that at least with COVID and people being in that business, it has created a space for it to grow. But, you can’t compare that when you’re talking about a live show.

AM: Last year, you published your memoir Blue: The Color of Noise, why did you want to write this and what was that process like for you?

SA: It took me about 6 years. It took me a long long time. It definitely wasn’t like, “ok, I’m going to get this done – I just need to do this.” It was an ongoing process and it started out being like the history of DIM MAK first. So I was like, DIM MAK is going to hit 20 years – we’re at almost 25 now. I thought I would do the history of DIM MAK, a 20 year book and I started writing stories about when I started DIM MAK back in ’96 when I was in college. I wrote about the struggles and all of the good stuff that you want to read – incredible stories. Then I realized, this was more about a memoir about my life and DIM MAK is a part of my life. It’s a big part of my life, but I felt that I should expand more and at that point, a few years after as I was touching on the history of my label, I started talking about the harder things that were very difficult to open up about like the death of my father (editors note: Hiroaki "Rocky" Aoki, a wrestler and restaurateur who founded the restaurant chain Benihana), the death of some of my friends that made a huge impact on my life and then as I got deeper, I started seeing a therapist that helped me to actually bring out some more of my introspective feelings that had to be kind of unearthed. You know, it was therapeutic to be able to write the book and a lot of that went into it. I also – you know when a lot of people think about the history of Steve Aoki, they say, “oh yeah, he’s the guy that throws cakes at people at shows.” Well I just wanted people to know that there is a lot more than just that.

AM: You dropped Neon Future IV this spring which I know is part of the Neon Future series that you began in 2015, tell us about the series in general and what can you share about the 27 track album that you just dropped?

SA: Neon Future is a concept that I came up with and is exactly what you said earlier. I really look at the future as an optimist and I look at technology with an optimist lens. I look at tech in a way that can help us and enhance us to be more of a creative or imaginative species. At the end of the day, we want to save ourselves and saving ourselves will be saving our planet as well. With tech, we can advance that and become more of an intelligent species. That’s why Neon Future is a colorful future. And so really making sure that for me personally, the musical concept, I wanted to educate it by having scientists on the album. So it’s not just about having a collection of songs for each album, but to really validate my point, I reached out to scientists that were very difficult to get a hold of. Some of the people were harder to get a hold of than some of the biggest talents that I have worked with. I had to do a lot of explaining, fly and meet people and do a lot of work in that regard because I care so much about that space and I also love bridging the science community and the electronic dance music community in a way that hasn’t been done before.

Like Ray Kurzweil to Yuval Harari to J.J. Abrams to Bill Nye and so forth and so forth. It started off as one album and the second album was going and then I said, you know what, it’s too good to end. Then the third and then I built the studio between the second and the third and I call it Neon Future Cave and then between the third and the fourth album, I started creating the comic Neon Future with Tom Bilyeu because Neon Future really deserves to be graphically laid out with its storyline. Which presents a world that we can imagine and with every comic book story, you need to have conflict so we had to make it like a dystopia that we want to make it like a utopia instead of the opposite. It just kept on growing and it had a mind of it’s own and it became AI! It became its own thing. It’s almost funny that this project almost became it’s own powerhouse that I couldn’t even stop which is kind of cool. We’ll see. Because of my next project, this puts Neon Future IV as the last of the series so far. We’ll see if it continues as I have a few other concepts that I want to develop. My main baby is Neon Future that’s for sure.

IG @SteveAoki

PHOTOGRAPHY CREDITS

Athleisure Mag's virtual cover shoot was shot by Co-Founder + Celebrity Photographer Paul Farkas. Throughout this shoot, Paul used an iPhone XR, iPad Air 2, Facetime and Clos.

STYLE & GROOMING CREDITS

Athleisure Mag's Celeb Fashion Stylist, Co-Founder/Creative + Style Director Kimmie Smith and Groomer Sheena Zargari share what they used to create this fall menswear style editorial of Out & About Style, WFH and Fitness.

LOOK I | OUT & ABOUT STYLE

FRONT/BACK COVER PG 26 - 37 | DIM MAK COLLECTION X DIAMOND SUPPLY CO Denim Jacket | SIKSILK X STEVE AOKI S/S Oversized Essential Tee + Loose Fit Riot Denim | LACOSTE Storm 96 Lo Sneakers |

LOOK II | WFH

PG 22 - 25 | SIKSILK X STEVE AOKI Oversized Hoodie + Relaxed Short | LACOSTE Storm 96 Lo Textile Sneakers |

LOOK III | FITNESS

PG 16 -21 | ALPHA INDUSTRIES Apollo II Hoodie | DIM MAK COLLECTION Leggings | DECKERS X LAB S/S K-ST 21 Sneakers |

IG @PVFarkas

@Shes.Kimmie

@Sheena_Zar

Hear DJ/Producer Steve Aoki on our show, #TRIBEGOALS - which is a part of Athleisure Studio, our multimedia companion podcast network! Subscribe to be notified when the episode drops. Listen on iHeartRadio, Spotify, Apple Podcasts, Amazon Music, Google Podcasts or wherever you enjoy your podcasts.

Read the Oct Issue #58 of Athleisure Mag and see The Drop with Steve Aoki in mag.

ATHLEISURE MAG | #58 OCT 2020

In this month’s issue as we continue into the fall, our Oct Issue #58 is covered by DJ/Producer/Music Exec and Entrepreneur, Steve Aoki. Our virtual cover shoot showcases fall style within Fitness, WFH and Out + About. We talk about Steve’s impressive career in music, building his label DIM MAK, being an entertainer, the process of creating music and collaborating, Neon Future series, being a Tech Future Optimist and more. Music has definitely gotten us through these times and we took some time to talk with Ultra Record’s Icona Pop and SOFI TUKKER to talk about their newest single Spa, how they have been spending the past few months and how they connected to create this song.

This month, 4 X NBA Champion LeBron James shares 9 songs that we should listen to in this month’s 9PLAYLIST which inspired him as he focused on #RevengeSznCompleted. 30 Olympic + World Champion Medalist Simone Biles of Team USA Gymnastics shares her favorites and why in our 9LIST STORI3S.

Read the Oct Issue #58 of Athleisure Mag here.

ALL ABOARD FRIENDSHIP 2020

The FriendShip 2020 event at sea completed its second run this past January with much success. This world-class music cruise experience was curated and produced by Gary Richards (aka producer & DJ DESTRUCTO, AMFAMFAMF event; founder and President of LiveStyle North America), featuring over 50 artists including DJs and producers, hitmakers and vocalists in electronic music, along with comedians, magicians and burlesque performers. 3000+ cruisers were entertained aboard Royal Caribbean’s Navigator of the Seas for a memorable, immersive roundtrip voyage from Miami to the Bahamas.

Highlights included the main deck sail away set from TroyBoi, sets from GRAMMY-nominee Boys Noize as well as his ELAX alter-ego, the mobile heavy hitter b2b that came out of Mija’s set with Nina Las Vegas x Madame X x Flava D x Star Eyes x Uniiqu3, hip-hop sets with legendary hitmaker Dallas Austin and Wax Motif during the Rump Shaker party and DESTRUCTO’s dawn at sea party set The Sermon with GRiZ, Boys Noize, Bob Moses’ Jimmy Valance and Danny Daze, among others.

As the sun rose in the Caribbean on the morning of Thursday, January 9, over 3,000 cruisers aboard FriendShip gathered for a unique musical experience -- DESTRUCTO’s dawn at sea party set ‘The Sermon.’ (Listen on Soundcloud here) Joining the DJ & producer during the set which clocked in at just under 4 hours and 20 minutes was GRiZ for a live sax performance to Christopher Cross yacht rock classic “Ride Like the Wind” and b2b moments with Boys Noize, Bob Moses’ Jimmy Valance and Danny Daze, among others.

Catch the next one!! Dates are announced for FriendShip 2021 for January 11-15, 2021.

Photos Courtesy | THE FRIENDSHIP 2020

Read the Jan Issue of Athleisure Mag and see All Aboard Friendship 2020 in mag.

IT'S ELECTRIC

We headed to Randall's Island here in NYC to attend Electric Zoo Evolved which had 40+ hours of EDM DJs, 4 stages, an array of food and beverage options and more. Our Labor Day Weekend was jam packed with a number of sets from some of our faves that included Kaskade, Oliver Heldens, Diplo, Good Times Ahead and more. We also checked out acts that we were less familiar with. In the midst of getting in on the good vibes, we sat down with 5 acclaimed EDM DJs to catch up with them on what they're working on, hearing about their sound and more.

We caught up with DJ/Producer SayMyName who is also this month's cover. Known as the Godfather of Hard Trap, when it comes to style - he definitely has it. We found out about his style of music, his latest collaboration with Riot Ten and what he does when he's outside of the stage and studio.

ATHLEISURE MAG: So you are known as the Godfather of Hard Trap. What is that and what is it about this genre of music that you love so much?

SAYMYNAME: Ok so Hard Trap is a genre that I started in 2012. It’s basically a fusion between Hard Style and Trap or like Hip Hop and it’s the best of both worlds. My favorite part about Hard Trap is basically the energy and uniqueness of the sound that it brings to every set no matter whether it’s a festival or a club – it stands up.

AM: Does it change for you whether you’re in a massive venue like here at Electric Zoo or if you’re in an intimate club? How does that work for you in terms of vibe?

SMN: The vibe or the energy is always there. Whether it’s a 100 or 10,000 – like there’s always this raw energy that matches the music. I don’t like to go to a smaller room and change the setup because I still want to see that same energy.

AM: So you just collaborated with Riot Ten with Glocks which is pretty exciting. How did that come about and how excited are you to finally release this?

SMN: Oh I’m excited it’s finally out. Riot Ten and I, we go back and this is something that we have talked about for a minute. He’s done the harder music like more of the Dubstep stuff and just basically using the Dubstep and the Hard Trap and just giving something that our fan base wanted. I’m excited that we got to do it.

AM: We love the new magenta color. How do you love the fact that you can express yourself with your hair color?

SMN: I love that it’s like varied on the season or my mood. So I have done blue, red, orange and now I’m on magenta. I feel like when I go in I just say, “ok I’m going to do yellow.” I think that the louder and the brighter the color, it’s just a bigger representation of the style and that energy. When you see that color and you’re on stage – it’s just in your face!

AM: What other collaborations do you have going on that we should keep an eye out for?

SMN: Right now, I just finished a collaboration with Afrojack. So we’re working on a release for that so keep an eye out for that. R3HAB and I, Timmy Trumpet – there has been a lot of music that I have been working on during the summer so I’m just taking some time off.

PHOTO | Paul Farkas

AM: You’re a busy guy and you have been at a lot of festivals this season. How do you keep yourself relaxed and focused on what’s happening?

SMN: For me, it’s all about balance. When I’m not on the road, I’m in the gym when I’m not in the studio. I feel that the gym it’s not like I’m coming down because I’m working out, but it’s about really staying healthy physically and mentally. It keeps the creative flow going and the energy. Festival season – the festivals that I have played this year, it’s been insane.

AM: We’re excited to see you perform tomorrow!

SMN: I’m so excited! It’s my first Electric Zoo and this has been a bucket list festival. I think I caught a Hardwell festival clip in 2012 or 2013 and I was like, “what is this Electric Zoo – it’s crazy!”

AM: As someone who travels so much, what are 3 items that are in your carry on to feel like you’re at home and centered?

SMN: I feel like with my carry on, that’s a good question. This is going to sound super cliché, but my laptop. I can take my music with me on it when I want to work from the road. I have books on my phone. I think that the books and the music that I have on my phone keeps the connection between everything. Then just essential hygiene products – my skincare routine is a big one.

AM: You need to be fresh!

SMN: I’m trying, I’m trying – I have to stay on top of that.

IG @SayMyNameMusic

PHOTO | Paul Farkas

PHOTO | Paul Farkas

PHOTO | Paul Farkas

PHOTO | Paul Farkas

We sat down with 2019 Grammy Nominated DJ/Producer EDX moments before he hit the stage. He had just arrived after performing in Montreal to kick off Labor Day Weekend and was in NYC just long enough to play a set at Electric Zoo. We talked about being #1 on Spotify's Dance Rising Charts, musicality and more.

ATHLEISURE MAG: You’ve been known as a genius for all the amazing music production you've done. What is the symbiosis between musicality and production to you in terms of making the great sound that you do?

EDX: Well you know, I think that there first, there is always a good song, a nice chord progression and if it’s a vocal song, there is a meaningful vocal. Then you add to it your signature sound and like the high end production. I think that you can have the best production possible if the musicality is there. It’s very hard to touch people when that’s not there. I’m always focusing on touching people with my music and when I have been doing this for so many years, the quality today shouldn’t even be an issue anymore.

AM: So STAY is on the Dance Rising Charts on Spotify. How excited are you about that?

EDX: It’s awesome because it has actually been the #1 track on Dance Rising. That’s something that is so special each time. It’s like making you a Sir for music – every once in awhile when this happens! For me, I’m just a kid living in Switzerland in a neighborhood next to Zurich and just exposed to music and trying to reach the world. This achievement is like a big achievement in my point of view because you actually reach so many people all over the world with this and it’s a good opportunity to be on that Dance Rising once in awhile.

AM: What are your 3 favorite remixes that you have done?

EDX: Haha it’s a hard question! I think that I have done more than 50 or 100 remixes. I don’t know and I’m still counting. It’s hard to pick just 3. I like the remix to the Janelle Monae (‘Make Me Feel’) record because it was just a cool song and I liked the whole vibe from it in the original. All the others are like in themselves, are something special because they all have this collaboration with some other songwriter, singer, artist and being able to get influenced by the original version and to add your own vibe to it to make it your own. It’s something that’s a blessing if you get this opportunity and it’s hard to just pick my favorite ones. But the Janelle Monae remix from last year has really given me the challenge that I wanted once in awhile.

I just started a remix for the new single of Loud Luxury. Which was just sent recently to Sirius XM before the release for their playlist at BPM so it is coming out in 2 weeks. It ended up being an effective remix and I was very excited to tease it and play it out like right now.

AM: We love your remix with Kaskade for ‘Angel on My Shoulder’.

EDX: Oh yes, that was a good one.

AM: Labor Day Weekend has been very busy for you. You were in Montreal on Fri, you are here today in NYC at Electric Zoo and tomorrow you will be in Dallas, how do you keep all that energy going and feeding all of these people your music?

EDX: Well, it’s like a very rewarding industry that we are in. Being able to play out your own music in front of so many people that give you such great feedback each time. It’s actually cool. I’m actually flying out tonight to Dallas because I’m playing tonight and tomorrow I will be out back to Europe!

IG @EDXmusic

PHOTO COURTESY | aLIVE Coverage for ElectricZoo.com

PHOTO | Paul Farkas

Talking with the NJ based trio, Cash Cash, we defintiely got their vibe of just giving a great show that is filled with an array of genres that are just about having a good time. We sat down with them right before their show to find out about what they've been working on, how they work with one another and some of the tools of their trade.

ATHLEISURE MAG: So how do you define the Cash Cash sound?

CASH CASH: We’re a mix of a lot of different things. We’re kind of like a buffet. You get everything with us. You get chicken, beef, vegetables, carbs, salad, dessert – we do it all. We work with Hip Hop artists, we work with pop artists, rock artists, alternative artists. We love it all and we’re always mixing electronic music with different feels and styles of music. Even with just instruments or singers.

AM: How does that work to have 3 of you working together in terms of being on stage or in the studio? How do you deal with those dynamics?

CC: We run a majority rules kind of thing. So if 2 people agree on something, then that’s how it goes. If one person cries enough and pleads their case …

AM: Oh nice so the minority vote can come forward and win!

CC: Yeah if they can convince us yeah – haha the minority vote could win that’s funny!

AM: So the song with P!nk, ‘Can We Pretend’ – it’s amazing! How did it come about and how excited were you for that?

CC: Really excited. We did a remix for her in the last month of 2017 and the remix did really well. She was happy with it, the team was happy with it and we have been trying to send her songs for a long time and finally she sent us the acapella and we were like, “this is great, we can do something with this.” So we built a song around that and it came together that way. It was great to finally make that happen because artists are so busy these days. She’s out doing world tours and we’re in the club every night. It was great to finally make it happen.

PHOTO | Paul Farkas

PHOTO | Paul Farkas

AM: With you guys having so much club time, how do you take time for yourself?

CC: It’s minimal I guess! We’re used to it though. We’ve been doing this for awhile so we’re used to the up and go lifestyle. We’ve been going and you get time off when you get to come home and we love traveling to see the world. It’s always cool to go to new places and then to be able to go back and return.

AM: When you guys are recording, what are your 3 favorite pieces of equipment that you love to use?

CC: Probably the computers – it’s like a love hate thing. Because you think it sucks sometimes, but you couldn’t make music without it. You could have a tape machine, but the computer is better. I feel that it switches – you’ll love a certain synth or something and then you’ll get sick of it, move on and then you’ll look at the wall and there’s your acoustic guitar and you’re like – this is the best!

IG @CashCash

PHOTO | Paul Farkas

Around Athleisure Mag's office, we've been playing DRIP by Boombox Cartel, Dillon Francis featuring Desiigner on loop since it dropped a few days ago. During Electric Zoo, we took some time to hang out with the man himself to find out how he experiments with his sound to make distinctive music while continuing to express himself with his collabs as well as his clothing brand.

ATHLEISURE MAG: How do you define the Boombox Cartel sound?

BOOMBOX CARTEL: I define it as breaking the rules and doing everything wrong. Stuff that’s not supposed to be done and trying to make it work. I try to come up with original ideas and there is a lot of research and development.

AM: What's that like?

BC: Putting a lot of time in the studio and making a lot of weird demos. It’s like evil scientist vibes, but I think that that’s what it is. Then just staying true to the underground and staying true to where we all came from.

AM: How do you get inspired and where does that come from?

BC: Well just influences from when I was a kid. Indie bands, synth rock bands to like Hip Hop to Trap, to Houston stuff to just a big mix. I lived in Monterrey, Mexico for half of my life. I was born in Laredo, Texas in South Texas and I went to music school in Minneapolis. So it’s just kind of like gathering cultures and gathering styles and sounds and just putting it all together.

AM: We’re loving DRIP with you, Dillon Francis and featuring Desiigner from an Athleisure Mag perspective, amazing song to workout to! How did that come about?

BC: Thank you so much and that’s what we wanted! Dillon is one of the most happiest human beings that I know. He’s always really enthusiastic and we tried to make something that meets in the middle. Something euphoric, something happy, something bright, something really colorful and that’s what came to be. And also, with Desiigner, he’s one of the most down to Earth rappers. I work with so many rappers and I think that Desiigner is the only rapper that I can say he is like a genuinely good person that is down to work and to do it for the people. He was there and we were in the studio until 7am like coming up with ideas – smoking weed and my whole house smelled like weed for the next week.

AM: But it was worth it!

BC: But it was worth it! We made a really positive and happy song and we’re all happy to put it out.

PHOTO | Paul Farkas

AM: It’s a hot song. We can’t say how many times we’ve had it on loop.

BC: Thank you so much!

AM: So your FC custom jerseys – those are really cool! Where did that come from?

PHOTO | Paul Farkas

BC: That came from living in Monterrey, Mexico and just going to soccer games every week. I see a lot of baseball jerseys in the EDM community and there’s isn’t enough love for the soccer community. Soccer is just as big or I think bigger! So just playing soccer, every show I go to I ask for a soccer ball and collect a university ball or something like that. I’m a huge fan. So working on those from scratch with a friend in Downtown LA – right now we’re working on a brand partnership with a big company. We did it all from scratch. One of my good friends Colby, helped us out. He has a beautiful warehouse – cut and sew, he created the patches from scratch and they will be back in stock this next week!

AM: Exciting – eventually you can have a whole line!

BC: We have some shorts coming up, socks, the whole kit for the kids.

AM: What are 3 things that you do being so busy and spreading yourself in so many places – to just get back to you?

BC: Yeah, I grew up in Texas with my dad grilling twice a week. So me and my homies barbecue twice a week – or at least once a week. I have a Harley Davidson back at home and I take it out on the 1 highway to go get some fried shrimp and then I come back home and just head to the studio.

IG @BoomBoxCartel

PHOTO | Paul Farkas

One of our favorite remixes is 'Red Lips' by Good Times Ahead as it's been earcandy on our playlist for nearly a decade. So sitting down with this duo talking about a number of exciting changes taking place in the group was a lot of fun. In addition to hearing about their new label, their rebrand and what they've been up to this year, we also found out about where we should be eating the next time we're in Miami.

ATHLEISURE MAG: You guys have had a lot of going on lately – you have the rebrand of your name and your own label. Can you tell us about this?

GOOD TIMES AHEAD: The label is called Good Times/Bad Times and I think that one of our favorite things about having our own label is being able to put out our own music whenever we want. It’s kind of like the main reason. At the same time, it’s also a good platform for us to showcase the Latin influence we have in our music and a lot of the people that we play in our sets and just showcasing that to everyone. Kind of bringing a new thing to the game.

AM: When it came to introducing us to some of his favorite music, our Co-Founder Paul, introduced us to your music. We covered the Fold Festival and we saw you there as well. What is it about your free of genre music and just really bringing together good music?

GTA: For us, it’s mostly just about the energy that music has and the type of energy that makes you feel the way that you do. That’s why whenever we play music, any music that we play either hand selecting it or making it – it, has a certain kind of energy to it. It’s kind of what lets people just have fun as it’s such a fun sound to it. That’s pretty much what attracts us to music in general. It’s about having a good energy about it.

AM: Once again you guys have been super busy with so many festivals. How many have you done just this summer alone?

GTA: This summer probably like 4, but that’s light for us. We still played a lot of festivals and shows, but this year, we took it a little easier because we were focusing on finishing up so much music. 2 or 3 weeks ago we put out our album. We had the record label launch and the whole rebranding of everything. We have been working a lot behind the scenes and just taking this year kind of slow to just work on that. We’ve been doing this now for 8 or 9 years so it’s kind of nice to have a little easy period.

AM: You guys also have a clothing line as well – tell us about that.

GTA: Oh yeah, so it’s kind of something that we dabbled in a little bit. I’m personally a fan of fashion and that kind of thing and street brands. Shout out to Jay of Triple 7 – he hooked us up with so much knowledge on just how to make your own label and your own kind of style. We just kind of wanted to bring that to the festivals that we went to and the parties that we go to and it’s been cool. It’s kind of the same thing that we do with our music. We kind of let the clothes speak for themselves – they’re just really cool and really good quality. They’re good to wear and you can wear them at a festival or just to go out in. It’s kind of in line with our same kind of style as well.

AM: What are you working on right now in terms of collabs?

GTA: We’re definitely doing a lot of stuff as far as on our own with our own label and stuff. We have a lot of collabs. We’ve been playing this one thing we did with this group called Fight Club which they’re actually from here. We have a couple of other ones too. A lot of club music a lot of Latin music. We have been working with a lot of Latin artists. We've had some writing camps last year and this year in Mexico and playing in Brazil and stuff. We’re working with a lot of up and coming people and it’s really exciting especially now that we’re about to launch the label. All of that was for the label and now it’s about being able to put it out and being able to show everyone.

AM: What are 3 restaurants that you guys love eating at in Miami?

GTA: In Miami? Crab Man 305 that’s our number 1! Shout out to Crab Man 305. We’ll also say that there are many many Cuban restaurants, but Sergio’s is a very good restaurant - it’s classic Miami. And then I’d say that obviously Joe’s Stone Crab is a good one – it’s a fancy one but one to go to!

IG @GoodTimesAhead

PHOTO | Paul Farkas

PHOTO | Paul Farkas

PHOTO | Paul Farkas

This past Electric Zoo not only included DJ/producer NGHTMRE performing, but he had a stage for the artists on his label Gud Vibrations which he cofounded with SLANDER. We talked with him about his sound, the responsibilities of running his labels, his current tour and of course being at this year's EZoo.

PHOTO | Paul Farkas

ATHLEISURE MAG: How do you define the NGHTMRE sound?

NGHTMRE: I like to just call it bass music. I try to incorporate and tempos and various styles of electronic music in my records and live shows. It’s a mixture of melodic and heavy. I focus on keeping everything high-energy!

AM: In addition to working on your music, you’re also the Co-Founder of your own label along with SLANDER. How is it juggling those responsibilities and needs?

N: It’s great actually. We have a great team helping us and it really allows us to focus on the music rather than having to worry about small details and infrastructure building. It’s only just getting started in our eyes.

AM: You’re back at EZoo and not only are you performing but you have an entire stage with Gud Vibrations artists – how did this come about and how exciting is it to have this going on this going on this year?

N: I think the Gud Vibrations label and brand in general works so well because it came about organically. Me and the Slander boys are great friends and our tastes align so well that we eventually started our own events and parties. We’re extremely grateful for Electric Zoo for inviting us to bring the Gud Vibrations energy to New York.

AM: Gud Vibrations also has its own clothing line – the Bomber Jackets are definitely something cool that we would include in a future shoot – how do you go about deciding what goes into the line and how it feeds the ethos of your label?

N: Gud Vibrations in general is an outlet for us to put out what we think is cool into the world. We don’t have any specific method to deciding what goes out, but if there’s something we particularly love or feel is cool we take our time developing it to make sure it’s exactly how we like it, then share it!

AM: Tell us about The Alchemy Tour.

N: For this tour I’m doing a b2b set with Slander for each show and this is the first time we’ve been able to bring our stage “The Atom” on the road with us! To top it off we’ve been looking up to Seven Lions and The Glitch Mob for years so to be performing alongside them is amazing!

AM: Tell us about collabs and projects that you have dropping within your music as well as things that we should know about regarding the label.

N: Earlier this year I released a record with ASAP Ferg called Redlight! He’s another person I’ve looked up to for a long time so being able to work together and create a full music video together was a special experience. I have a new track with “Zhu” called Man’s First Inhibition that just dropped and is a bit different from my other stuff. I am always collaborating on new music!

PHOTO COURTESY | aLIVE Coverage for ElectricZoo.com

AM: You’re constantly on the road going from one gig to the next. Do you have 3 things that you do prior to a gig to get in the right mindset to perform in front of your fans?

N: Nothing usually actually. I spend time in Rekordbox on my computer before each show. Its a software that allows me to plan out and organize my music a bit better so when I’m in stage it’s easier to switch things up.

AM: In addition to traveling, I’m sure you workout, what are 3 workouts that you feel are the core of your fitness routine?

N: I actually only just started doing this recently but I got a personal trailer to help me while I was home for a bit and this is my “on the road” routine.

STRETCHES | Samson Lunge, Worlds Greatest Stretch, Downdog, Frog Stretch and Pigeon | CORE WORK @ 3 Rounds | (Rotation) Russian Twist x30, (Flexion) Leg Raise x30, (Static hold) Plank 30 sec | @ 4 Rounds | Squats x40, SIT UPS x30, Push Up x20 |

IG @NGHTMRE

PHOTO | Paul Farkas

PHOTO | Paul Farkas

PHOTO CREDITS | PG 26, 52 + 54 aLIVE Coverage for ElectricZoo.com | This editorial contains elements of images, courtesy Dreamstime.com: PG 16 Richochet69, PG 19 Rolffimages, PG 29 Nadezda Mikusova, PG 30 Philip Openshaw, PG 34 Golfxx, PG 36 Steve Ford, PG 41 Alisbab, PG 42 Tatiana Kuklina, PG 46 Alphonse99 + Back Cover Santi Ri |

Read the August Issue of Athleisure Mag and see It’s Electric in mag.

THE MAESTRO WITH DRUMMA BOY

This month's issue focuses on love in many forms. When we talked with music producer, rapper, composer, philanthropist and businessman Drumma Boy, it was clear that he has a love for music, fashion and the ability to bring people together. We chatted with him about how his life started infusing with diversity in music, the important role that producers play in Artist Development, his upcoming projects with Too $hort, Musiq Soulchild, his musical work with the NBA's Memphis Grizzlies, his business in Atlanta and his must hav3s that you will find in his studio if you're ever working with him.

ATHLEISURE MAG: Clearly music heritage runs in your family. What was it like to be infused with such insights and talents growing up?

DRUMMA BOY: Coming from my mom, she used to always tell me stories about plugging the record album into the speaker and playing Isaac Hayes and all of that. I was young, but from her doing that, I would have these dreams of hearing music and when you would put your hands over your ears it sounds like this beautiful sound. Like you know it’s coming from somewhere, but you don’t know where! So in real life, even right now – there is a beat swimming in my ears. There is music in my ear and I have to transfer that to actuality which is what the recording process, beat making and all of that is. And to me, that’s the writing of music.

That’s the best way that I can understand Beethoven. By losing your hearing, you can still hear. Your brain can hear. Even if I muted my ears or covered them where I couldn’t hear anything – I could still hear the music. That process transfers into writing music.

AM: What was the moment that you realized that producing was going to be the way that you worked musically?

DB: That inspiration came from my brother, Ensayne Wayne who was older than me and was recently shot and killed on Feb 10, 2018. I remember being 12 or 14 and he took me into the studio with him and he was working with Three 6 Mafia and all of these different artists through Memphis. Just going through all of these different studios was amazing. I remember that the first studio I went into, it was like I was in a spaceship. I was like, “man all of these lights!” I knew that if I could transfer the orchestral knowledge and the ability to write, compose and to arrange and to put that with this Hip Hop – I could have my own sound! That’s how I came into the game making beats.

I was motivated by Ensayne Wayne, Jazze Pha, and a lot of the legendary cats that were doing it at that time.

AM: How would you define your style?

DB: I call it a pot of gumbo, there are so many different styles of the music in it. Mama would make the best from the scraps. She had some leftover chicken, black eyed peas and whatever and cooked it down in one pot and stretched the food out. Like gumbo, my style is a little bit of blues, a little bit of country, a little splash of rhythm and blues, and you have a bit of hip hop and a pinch of orchestra. Just all of these genres of music like jazz, bluegrass, funk, oldies but goodies. I loved Isaac Hayes, operas and orchestras as well as plays and then I could run out into the street and hear Three 6 Mafia. Then I could go downtown to hear the blues like BB King. There was so much history musically that it was just destined.

AM: What artists and groups have inspired you beyond a lot of those that you have mentioned? Do you get inspiration from EDM artists?

DB: Yeah I mean, I always respected the DJ. I DJ’d parties when I was coming up and I would do things here and there. As a DJ, it’s about spreading good energy because people just want to have a good time, dance and have fun. As a DJ, when you have that repertoire and that ear for what people really want to hear you can infuse that energy. So for me David Guetta, Tiesto, Flosstradamus.

When I met Flosstradamus in Atlanta, they told me that I needed to get in on EDM and doing my first song Hulk Smash Remix which hit a million streams on Spotify – it’s a blessing to get that genuine love with independents and pushing heavy on that party side. When I first released Hulk Smash Remix, Dan Bilzerian picked up the record and put it behind one of his videos and I was like, “damn this is my first time even playing around with EDM!” It was just mad love!

AM: What’s involved in producing? How do you work with your artists to your vision and the artists’ vision come together in a true collaboration?

DB: Well when I say produce music, I mean it starts with the vibe, the music and the energy of the room. Sometimes the artist may be pacing back and forth even when the music starts playing. Then we might come and bring in more energy like singing a vibe or coming up with concepts with adding in words here or there. Throw a bar or two in there. I mean producing – I look at it like I’m in therapy. The artist may not be in the mood to do the job in a certain way. I’m telling them that we need to go about it in this way or that because that is what the record label is saying. I’m telling them that they need to do something uptempo, but they may have come out of the hood and they’re about Trap. T hey may have negativity going on in their lives, they’re frowning, frustrated, they’re on the phone arguing and I’m like, “hey put the phone down – let’s get some drinks, we might have to go to the strip club, or whatever to get your mind off of that so that we can take the good energy and go back to the studio.

So now it’s been 7 hours, but it comes down to that one moment that you can capture. As a producer, we capture moments and when that artists gets into that rhythm – we capture that. That will be the best presentation that will be the best presentation that you record and then you will study that to see that it’s a hit or a smash and as you perform, it’s a completely different ballgame when game when you do that. As a producer, we’re really about artist development, enhancement, choreography, concept, theme, messages, stories etc and really giving that dedication to a successful artist.

AM: What artists are you working with that are coming out this year that you’re really excited to work with?

DB: Right now, we’re heavily working with my label Drum Squad Records. We just signed an artist Kdogg, 17 out of Memphis. He just comes from the mud, that bottom and you can just hear his struggle in his music. We released his single on Apple Music that you can download now called No Turning Back. We’re also working with Scott King a very cool artist out of Atlanta whose voice is his message. Also go get The Pimp a Too $hort Album that I just did 2 tracks on: Ain’t My Girlfriend and Tables. There are so many different artists it’s hard to say. I just went in with Kevin Gates. We’re working on DJ Drama’s new album – there’s no telling who he will drop on a track. He might pull an artist from Toronto, another from NY and an artist from the West Coast. I just got off the phone with Jeezy, he’s working on some exclusive things so I’m definitely excited about that as well. I’m all over the place!

There are so many great songs I’m working on with songwriters, I’m working on 2-3 albums and I’m about to drop my album, My Brother’s Keeper – another rap project that gives more details into my family and how we plan to continue the legacy of my brother. It will drop on 2-23 which is Insane Wayne Day in the city of Memphis. I’m also executive producing Musiq Soulchild. When I say that it has been some of the most amazing music I have made in my life! I’m very excited about that as well!

AM: Who have you yet to work with that you would like to work with?

DB: I’d say John Legend. I’ve always wanted to work with him and I’m a real jazz and R&B hip cat. I haven’t had the opportunity to really showcase my expertise in that world. Beyonce would be another one as well. Rhianna is also in there too!

AM: We know that you work with the NBA’s Memphis Grizzlies. How did this come about and how do you approach the projects that you create with them season to season?

DB: Man with the Memphis Grizzlies they just wanted energy and me and DJ Paul did a rap project collaboration back and forth called Clash of the Titans and we did a song called We Don’t Bluff, which is the message behind Memphis. We don’t take no shit and it was just an amazing run for the city and the people don’t understand how big the Grizzlies are for our youth in our community because there aren’t too many things to do. They took Liberty Land which is an amusement park, we don’t have any water parks, not too many community centers or things of that nature. So there’s not a lot of things to do for the youth and one of those things is to go to a Memphis Grizzlies game. So to be able to create a record like We Don’t Bluff, to sit floorside with them and it’s been a 3-4 year process – it’s been a blessing. To be able to support them and to just believe and to share that message that someone can get it done is great.

AM: We also know that you have worked with Grey Goose – how did that come about?

DB: We have a lot of chemistry and a lot of love. They reached out and wanted to show some love so although it’s not an official deal, they respect what I do and appreciate it. It’s been a relationship that continues to expand and I am open to future opportunities with them as well? It’s a great non exclusive relationship.

AM: What is the House of Fresh, what do you carry there and how did it come about?

DB: The House of Fresh – well one of my first jobs when I was 14/15 was selling shoes and they put me in the Com bat Zone which was where the cheap and ugly shoes were. Nobody wanted to buy those $9.99 shoes and the retailer put you there first because they felt if you could do well there, then you could make it to the Shoe Pit. Everybody wants to buy the Jordans and other hot shoes that are in that area.

In a week, I probably sold the most $9.99 shoes because I was good at selling in the Combat Zone. So they saw that and let me go to the Shoe Pit. Within a month, I was the number 1 sales person. You got a $500 bonus every time you came in as the #1 sales person. That incentive made me push for it. I did it by selling accessories with them. You came in for shoes, but I said let’s dress that up and I let them know about sneaker cleaners, hats, etc. When you come into the store expecting to spend $200, you leave spending $500 or $700.

That energy, I liked it and I liked making people happy. Touching people through music has always been my things, but fashion is also the other. I started selling my own clothes because people wanted what I was wearing. When you look at my pictures on Google, you’ll see me in Drumma Squad gear. My own custom, extra large waist and oversized clothes. We would have it all over and people would buy it. I used to sell it out of my trunk and one day I thought what could I do with the relationships that I had with these clothing labels? So many of the lines would send me free packages. I knew I was bigger than a sales rack and a walking billboard. I looked at how I could expand the relationship and I saw a location and said if I can get it, then that's it. House of Fresh is an actual house that is on a busy street in the middle of Midtown Atlanta with a lot of walking traffic. I called Reebok, this one and that one and they said that they would send their shoe reps in. My music relationships with Ludacris, 2 Chainz played well for love and support as well.

I’m also excited that we’re opening Pre-Game, a Bar, Grill and Lounge. It’s on 899 Martin Luther King Jr Dr SW in Atlanta. It’s right down the street from the Mercedes Benz and we plan on being open right before the Super Bowl.

AM: What are three key things that you truly believe in in terms of the success of your career?

DB: I believe in the importance of watering relationships. You get so many contacts, but it’s important to circle back from time to time to ask them how they are doing. I love to share the message of loving practice. Loving to get up every day and to practice - whatever it is that you want to do and enjoy that process. It’s the ultimate confidence builder. I also believe in having multiple revenue streams of income. I feel that these things have been instrumental in my success.

AM: Your hands are in so many pots, how do you take time for yourself?

DB: Well it’s weird. The music saves me. I’m up every morning 8/8:30am and I start out with breakfast and getting the proper nutrients, fruits and of that nature and I just think/brainstorm on what I want to accomplish for the day. I start getting phone calls and I attack the priorities. I zoom in on the top things that I have to do and I have that schedule. Usually House of Fresh, Pre-Game Lounge and everything that I have to do business wise is orchestrated between 9am - 2:30pm. By 2:30/3pm I’m all studio. I’m not so much on the phone so people can just leave a message and I’m there until 2:30/3am. I come home, I get about 3-4 hours of sleep and then repeat. It’s a dedicated process, but I find it very effective.

AM: What are must hav3s that you always have in the studio when you’re working?

DB: I would say company is one thing

that you have to confirm – ladies in particular – to know when you have a hit. It’s when they move or not period point blank. If someone says, “ooo I like this.” You know we have a hit. When you get a lot of chatter and no one is paying attention, then that just confirms that I need to go to the next beat. Another thing is candles. We’ve been supporting a brand, 1122 Candles for the simple fact that they’re natural and soy – there are no chemicals when they burn. They also have a great scent! My third thing is the fun – I have to have fun. That’s one thing I do. I’ll do something silly or just try something out for no reason and that turns out into something incredible.

AM: In Atlanta, where can we find you grabbing a cocktail/meal, working out and shopping?

DB: I work out at Heat Gym. I work out with my trainer shout out to Mr Shut Up and Train on Instagram. As far as grabbing a meal you may catch me at the STK or at Paschal’s. It’s a really well known Southern wine and dine spot. For shopping, you will find me at Phipps Plaza as I love that it’s exclusive and you can get right to the point and get out without being stopped by too many people. Every now and then I might run into Lenox Square to stop by Zara and see what they’ve got.

PHOTOS COURTESY | Drumma Boy

IG @DrummaBoyFresh

Read more from the Feb Issue of Athleisure Mag and see The Maestro with Drumma Boy in mag.

I MOVE ME | STEVE AOKI

This month, we attended an immersive experience with Anima Sana In Corpore Sano known as Sound Mind in a Sound Body - or better known as the 70 year old iconic Japanese brand, ASICS. This experience introduced a partnership and campaign between the sports performance brand and Grammy-nominated, DJ/producer, international entrepreneur and fitness fanatic, Steve Aoki, who serves as the face behind the I MOVE ME campaign in North America. 

The campaign allows the brand to connect with new audiences in an ever-changing fitness industry and builds upon ASICS' core philosophy. I MOVE ME aims to bring people together and inspire them to be healthy and happy through movement.

At the event in the LES, guests enjoyed a large Jump Room with 180 degree cameras tracking their movements, and of course, Aoki also showed his movements on the trampolines as well. 

The actual campaign is a sensory film that stars the DJ, set to his new Kolony track and reflects the correlation between his music and movement. In addition, their is an inclusion of energy, motivation and passion that he brings to whoever his path crosses. He also connects with other passionate people from Kinjax, Overthrow and Cobra Fitness Club. 

The campaign is shot in his home in Las Vegas, in LA and in NYC. In addition, ASICS sponsored athletes - four-time World Championship Wrestler and 2012 Olympic Gold Medalist, Jordan Burroughs (U.S.) and World Champion track and field athlete and bobsledder, and three-time Olympian Lolo Jones (U.S.) intersect with the DJ as he appears during their training routines.

"I am really excited to work with ASICS, an iconic Japanese brand," says Steve Aoki. "My life is not only about music and fashion, but also fitness, nutrition and health. I'm really grateful for an opportunity to partner with an athletic brand that not only supports the same philosophy as me and allows me to infuse my DNA into the creative process, but is also aiming to inspire and encourage others." 

You can see more on the I MOVE ME campaign as well as how it will roll out socially, in stores and beyond by starting with the 90 second film.
 

Read more from the Oct Issue and see I Move Me in mag.