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My EDC Orlando Experience

My first rave was when I was 16 years old, when my brother put on the show at a local fire hall. Both my parents and grandparents attended. My parents showed up probably because they had to…you know, legal reasons and all, and my grandparents and I to show our support.

The music was great, with DJ Deadly Buda headlining. As an invincible teen, I wanted to jump in the mosh pit, flail around running into everyone, and let out some of that pent-up teen aggression. As luck would have it, though, I made it around the pit once and then fell, only to look up from the ground, and see a nice, scruffy pair of combat boots heading my way. The next thing I knew, a multitude of arms were there helping me up and saving me from being crushed by those boots. That ended my mosh pit days, but what remained was the knowledge of that feeling of caring from those faceless helpers.

Enter 2017, where I was given the opportunity to attend Electric Daisy Carnival in Orlando, as a VIP. It’s been 28 years since that first rave, and my how things have changed…or have they? EDM has become so popular that whole football fields are necessary to accommodate all the partygoers. Tinker Field was a huge venue with multiple stages (back in 1989, there’d only been one). There were chill out zones, amusement park rides, and vendors of all kinds. Inflatable furniture anyone? How about some organic jewelry? What amazed me was how the good folks at Insomniac had all these stages outside near each other, each with a DJ playing their own music, yet the sound from one never interfered with the other. You heard each clearly without distortion or distraction from the other, yet there were no walls or buffers of any kind. Amazing acoustic planning!

Ferris Wheel at EDC Orlando 2017

The layout and flow of traffic was also planned out well. For the amount of people at the show, one never felt overcrowded, and liquid refreshment and chill areas were always right there, much different from, say, and other famous Kingdom here in Orlando.

I truly enjoyed all the colorful lights everywhere. The Kinetic stage was my favorite, with its fireworks, water fountains, light show, dancers and video screen imagery, which was planned to the music with the goddess’s heart beating and close-ups of the djs. Kudos to the creative team! Partygoers were also creative in their dress, from furries to kandi kids, butt-cheek models to neon-clad gentlemen, marching bands, stilt walkers, and oversized fish. Those last three might have been Insomniac’s doing, but oh what fun and good vibes they made for. Some of my favorites were the lite-up butterfly wing cape, the lite-up faux fur coat and the lite-up tutu. Notice a trend here? What I didn’t notice were any combat boots or mosh pits. Nor did I miss them, to be honest. What I loved seeing was that EDM has become so popular, that people danced peacefully next to each other all over the field and most of all that raves are still multi-generational.

While waiting for a friend to buy refreshments, I started talking to a young girl with glitter and rhinestones on her face and her blonde hair in braided pigtails. She was 26 and a graduate of Flagler College. She and her Dad had come all the way from Jacksonville for the show. Her mom liked more classically played music and had opted to stay home. However, as the marching band passed by, she exclaimed to her dad how “Mom really would have liked that.”

I bet there was more her mom could have appreciated: the goddess-designed stage, the creative outfits, the more chill VIP area, and most of all, the family bonding. Back at my first rave, my grandparents found the music sounded “quite funny”, but they still polka-danced to it anyway. I’d like to believe that had my grandparents been alive and with me at EDC that they’d have been there in the VIP area drinking, eating, and polka dancing into the night. That’s what’s so great about EDM shows, there is something for everyone to enjoy and a feeling of acceptance for whoever you are.

My niece is only 8 years old at the moment, but I hope one day to take her to a rave as well and continue on the tradition.

Deadly Buda’s Musicoin address to VI St. Petersburg International Cultural Forum

Musicon Ambassador Joel “DJ Deadly Buda” Bevacqua addressed the Intellectual Property and Blockchain discussion panel: “Creating Globally Applicable Best Practices in Blockchain Technology in Russia for IP Management: from Patents and Inventions to Books, Paintings, Photos, Music and Films” held at the VI St. Petersburg International Cultural Forum. Below is the video of the address, the text of the speech, displayed slides, and the hand-out text mentioned in the address.

Here is the text from the speech:

“Hello, my name is Joel Bevacqua. Some know me as DJ Deadly Buda. I am the Musician Ambassador for Musicoin. We are honored to be invited to the Cultural Forum and especially by IPChain, which we believe could not only benefit Russia, but might shine as an example worldwide about the possibilities of blockchain and its utilization to aid human creativity.

We sincerely hope that one day, younger people in the audience will look back to this panel as a day that the world took a step in a good direction.

So, what is Musicoin?

Musicoin is a digital currency for the listening and compensation of music. On February 11, 2017, artists could upload their songs to Musicoin.org . When listeners played a song, they paid the artist 1 Musicoin. This payment happened in seconds. 1 Musicoin was worth at the time between 1 and 4 cents in US dollars. The artist could save that Musicoin in hopes it would rise in value, or sell it on and exchange for the currency of his or her choice. This was all achieved with the Musicoin blockchain.

Musicoin Presentation Slide 1
Musicoin Presentation Slide 1

This was a success, but we noticed a problem. As Musicoins rose in value, people played less music. So, we made a change to the Musicoin blockchain which we code-named “U.B.I.” for “Universal Basic Income.”

In this change, the artist still receives 100% of the income, but now 1 play is equivalent to an amount of Musicoin equal to about 2 cents in US dollars.

Musicoin Presentation Slide 2
Musicoin Presentation Slide 2

Also, listening for the public is now free. It is paid for by Musicoin miners. Miners are people with computers that process Musicoin transactions and mint the coins. A part of their mining reward creates the fund for free listening. The miners hope this leads to greater adoption and the Musicoins they retain becoming more valuable.

Through UBI, free listening become the human intelligence of the system and makes many traditional concerns about music piracy irrelevant.

Some might call what we’ve done, “disruptive”, but we feel it is constructive and ultimately an aid to the human imagination. In that spirit, a forthcoming update will allow consent-based location data to be entered in the Musicoin blockchain. This way, an artist might indicate where their payments may go.

Musicoin Presentation Slide 3
Musicoin Presentation Slide 3

If their song is played in Russia, RAO may process some funds, if played in Canada, SOCAN could process certain payments. Theoretically, public domain works could pay its citizen in near real-time.

The possibilities are many and are being realized now. Mobile and software players are expected soon, and even dedicated hardware players are expected within the next year.

I am having a fact sheet about Musicoin passed out. Please contact me after the panel if you are interested in interfacing with the Musicoin blockchain and I will help facilitate it.”

Below is the text from the hand-out mentioned in the speech.


Musicoin Logo With Tagline

Important Facts:

February 11, 2017, Musicoin becomes the first blockchain-enabled streaming music system in which artists can upload music, the global public can listen, and when they do, the artists are paid in seconds.

You can listen to streaming music at http://musicoin.org . The rights-holder is rewarded with Musicoin.

Musicoin has over 19,000 registered users. 1,500+ are musicians who have uploaded over 7000 tracks.

The price of a Musicoin has gone as high as 4.6 cents USD each. Musicoin’s exchange symbol is: MUSIC.

How it Works:

Every time a song is played the copyright holder is paid an amount of Musicoin equivalent to about $0.02 USD. This amount can fluctuate based on market demand and can be raised or lowered to compete with other online streaming services. The copyright holder receives Musicoin seconds after a listener presses “play” anywhere in the Musicoin system. Once the copyright holder receives the Musicoin, he, she, or it can elect to split the payment with others if needed.

Musicoins are created by people all over the world with personal computers. The process is called “mining.” The computers validate and process Musicoin transactions and are rewarded with Musicoins. 15% of Musicoins mined are allocated to fund the playing of music by the public. Musicians, miners and the public can sell their Musicoin on exchanges for the currency of their choice or use them to transact with one another.

Future Plans:

Easy purchase of Musicoins for the public (a cryptocurrency exchange will no longer be necessary).

Consent-based location data will be available from the Musicoin blockchain.

Mobile apps will be available soon. Embedded hardware platform expected late 2018.

FAQ

What kind of blockchain is Musicoin? Musicoin is its own blockchain, based on Ethereum code. By using its own blockchain, Musicoin can better scale with the increasing demands of music consumption.

How would my blockchain system communicate with Musicoin? Like Ethereum, ERC-20 tokens can be utilized to easily communicate with other blockchains.

Russia’s IPChain to work with Musicoin?

November 18, 2017, St. Petersburg, Russia,

This year’s VI Saint Petersburg International Cultural Forum might hold a surprise for the future, an intellectual property blockchain, Musicoin, operating with a national market. This possibility was raised at the culmination of the business panel, “Creating Globally Applicable Best Practices in Blockchain Technology in Russia for IP Management: From Patents and Inventions to Books, Paintings, Photos, Music and Films.”

The hour-long panel was held by IPChain (the National Coordination Center for Processing Transactions with Rights and Objects of Intellectual Property), whose ambitious task is the formation of a national blockchain-based network of Russian intellectual property objects, their associated rights, transaction records, and the facilitation of such transactions.

“The creation of a decentralized IPChain network is a necessary and indispensable stage in the development of the national intellectual property sphere,” said Andrey Krichevsky, president of IPChain. “However, when speaking about practical steps, it is important to remember that, despite the seminal nature of today’s steps to reform the sphere, we must constantly be on the move. After all, the trend of the current day – blockchain – will be replaced by newer and newer technologies and solutions. Our task is to monitor the strategic vector of global development, to foresee and anticipate technological shifts. ”

Musicoin Ambassador Joel Bevacqua addresses the St. Petersburg International Cultural Forum
Musicoin Ambassador Joel Bevacqua addresses the St. Petersburg International Cultural Forum

In that context, panelists who contributed their solutions and viewpoints were: The Unified State System for Accounting for Research, Development and Technological Works of Civil Purpose (the state service is already one of the key components of the IPChain infrastructure), The National Register of Intellectual Property, which participates in a project initiated by the Ministry of Education and Science of the Russian Federation to create a system for storing and comparing three-dimensional models, and FormMax, a business to business solution for delivering background music,

The participants also included a number of services that could potentially use the IPChain infrastructure such as IP EXCHANGE (IPEX), an online platform that ensures the regular functioning of the organized market of intellectual property, artists societies worldwide, and the world’s first music streaming blockchain service, Musicoin.

Panelists from left, Eric Baptiste (SOCAN), Andrey Krichevsky (IPChain), Sergey Matveyev (Director of the Department of Science and Technologies of the Ministry of Education of the Russian Federation)
Panelists from left, Eric Baptiste (SOCAN), Andrey Krichevsky (IPChain), Sergey Matveyev (Director of the Department of Science and Technologies of the Ministry of Education of the Russian Federation)

Though intellectual property forums tend to be sedate, this panel had its share of barely suppressed fireworks. Ivan Zasurskiy, Head of the Department of New Media and Communication Theory, Journalism Faculty of Moscow State University, referred to lawyers in the field as leeches, attorney Pavel Katkov wondered aloud if blockchain smart contracts might relegate lawyers to a secondary role in intellectual property management, and Joel Bevacqua, the ambassador for the Musicoin blockchain pointed out to the younger members of the audience that the panel they were witnessing might one day be a watershed moment in their lives.

The Russian Federation’s IPChain ended the panel with another sign that Russia intends to be a world leader in blockchain technology, as official signing agreements on strategic cooperation took place. IPChain and the largest company in the market of licensed electronic books in Russia, LitRes, signed an agreement on cooperation and interaction, and then IPChain and BankPrav.ru service – “AyBi” LLC, signed an agreement on establishing partnership relations and developing long-term mutually beneficial cooperation for the registration and monetization of intellectual property and increasing the transparency of intellectual property transactions for all market participants.

Joel Bevacqua, Musicoin Ambassador (and The Hard Data Editor) arrives at the VI St. Petersburg International Cultural Forum's IP & Blockchain Panel
Joel Bevacqua, Musicoin Ambassador (and The Hard Data Editor) arrives at the VI St. Petersburg International Cultural Forum’s IP & Blockchain Panel

At the very end came the surprise, as IPChain’s head Andrey Krichevsky, announced IPChain’s intention to open discussions with SOCAN and Musicoin on possible cooperation pacts. Musicoin’s ambassador, Joel Bevacqua, was seen giving a “thumbs up” to the audience. How this plays out, the world will have to see, but the announcement could signify another significant step for music fans and artists not just in Russia, but the world.

What is Musicoin?

Musicoin is a digital currency designed for the compensation and consumption of music. Every time a listener plays a song anywhere in the global Musicoin ecosystem, the song’s creators are paid in near real-time. The listening however, does not cost listeners anything. This article will explain how this is possible and speculate on Musicoin’s possible ramifications for music artists, fans and business people around the world.

Musicoin began as a way to address the problems associated with the current global music industry. Three corporations, Sony Music Entertainment, Warner Music Group and Universal Music Group own over 80% of the global market. Because of their power, they tend to dictate who the winners and losers are – and will be – in the global music ecosystem. New and even established musicians can suffer because of this situation. For example, many artists have complained about low royalty payments they received from streaming websites such as Spotify and Pandora. Furthermore, music copyrights and licensing are so complicated that it is difficult for the average artist to keep track of what monies they might be entitled to.

The Musicoin PPP Contract
The Musicoin PPP Contract enables quick payments to artists and can be easily split with band members and other important people in the music ecosystem.

The Musicoin solution to this problem is achieved primarily with the use of blockchain technology and smart contracts. Computers around the world communicate with each other to create a digital currency called Musicoins, and then keeps track of all their transactions. This currency creation and ledger system is sequential and often referred to as a “blockchain” because the computers are processing “blocks” of transactions one after the other. Within those transactions are orders to distribute payments to one or several entities. Those payment orders are called “smart contracts” because they logically execute payment orders based on how they are programmed.

So in plain English, once a musician uploaded their song into the Musicoin system, every time their song got played they were paid 1 Musicoin. And if the musician had band members he or she needed to split the profits with, the Musicoin would get split accordingly. This all happened in seconds via the Musicoin blockchain.

An elaborated view of the Musicoin PPP pay-per-play system.
An elaborated view of the Musicoin PPP pay-per-play system.

So how much is a Musicoin worth? It depends. Like other digital currencies, Musicoins are traded on the open market and its value fluctuates by the minute. At times, Musicoins have been worth over 4 cents (in United States Dollars). At over 4 cents per play, Musicoin was paying artists a much higher per-stream rate than any mainstream music websites.

But with any success comes challenges. It was quickly realized that if the price of Musicoins kept climbing, no one would play music. People would hoard Musicoins hoping they would be more valuable. In fact, some were already doing that when they were worth 3 cents. So, Musicoin’s primary founder, Isaac Mao, started developing innovative strategies for the future.

Isaac had gained notoriety in China for being one of its first web-bloggers, and an advocate of internet freedom. In the early 21st century he had developed a theory called “Sharism” that emphasized the importance and necessity of sharing information in the information age. Though Sharism was already an idea that underlined Musicoin’s early incarnation of February 2017, it would now influence the Musicoin system more so than before in response to the new challenges. A controversial new implementation to the blockchain was proposed: UBI or “Universal Basic Income.”

UBI was initially controversial as it sounded like a Socialist program implemented on the blockchain. Many proponents of digital currencies are very Libertarian in outlook, and anything that resembles a welfare system, or a “Universal Basic Income” for everyone raised a lot of eyebrows. However, a closer look at UBI revealed it was far more ingenious than out-dated monetary policies.

UBI solved the problem of Musicoin hoarding first by changing the reward to the artist. One play of their song was no longer 1 Musicoin, but an amount of Musicoin equal to roughly 2 cents USD (however, that amount can fluctuate so that it would always be more than what other music streaming services pay). In this way, music plays would emit a stable reward, and people holding onto Musicoins will likely see their investment grow as the system gains wider adoption.

Musicoin's UBI schematic demonstrates how the flow of Musicoins will be set to solve ongoing problems with the global music industry.
Musicoin’s UBI schematic demonstrates how the flow of Musicoins will be set to solve ongoing problems with the global music industry.

Next, all plays on the Musicoin system became free for the listener. The musicians are paid from a fund allocated by the computers processing the Musicoin transactions as described earlier in this article. When the computers process Musicoin transactions and make new Musicoins it is referred to as “mining”. So now, the miners of Musicoin pay the artists while the public listens for free. Far from being a social program, the UBI system arguably makes the Musicoin miners direct competitors with Universal, Sony and Warner. And who are those miners? They could be anyone with a computer and a modern graphics card. Virtually any gamer could easily mine Musicoin. So, normal people all over the world mining Musicoin are helping build a system that rewards artists and listeners in a whole new fashion. If you want to learn more about Musicoin mining, here is a good video: https://www.youtube.com/watch?v=X5-6PXfH7gw

I speak a little bit about the wider implications of UBI in this video:

The UBI system is only the beginning though. Slated for late 2018, Musicoin will introduce a new wrinkle: Proof of Sharing (though it may be renamed to “Proof of Play” as seen in this video). In this system, users actively sharing content will help mine Musicoins. For the nuts and bolts about how the Musicoin system works, read their “White Paper” which is a document outlining Musicoin’s platform design and specifications. Musicoin’s long-term vision can be found in its Roadmap document.

There are other digital currencies aimed at addressing the problems of the global music industry, but Musicoin differs from them in significant ways. Most notably is that Musicoin runs its own blockchain system, whereas other solutions ride on top of other digital currency solutions that process many different types of transactions besides just music. This makes Musicoin potentially faster and able to scale easier to a larger population of users.  The other important fact is that Musicoin was the first functioning music streaming service powered by blockchain technology that could be used by artist and listener alike. Being such, it has been the first to successfully deal with real world problems and fashion solutions. In essence, Musicoin is battle tested in real-world applications.

Here are some early Musicoin milestones that have helped shape its evolution and adoption:

  1. Musicoin becomes the first functioning music streaming service powered by blockchain technology that can publicly accommodate musicians and listeners.
  2. Musicoin joins the Enterprise Ethereum Alliance, an organization made up of Fortune 500 companies, entrepreneurs, start-ups, and academics dedicated to smart contract technology.
  3. The Musicoin Alliance forms, as providers of goods and services join in an effort to promote the adoption of Musicoin.
  4. The Hard Data and Musicoin Pilot Program successfully put Musicoin in the hands of active users for music-related goods and services, namely article writing, photography, and the ability to purchase t-shirts and printed magazine subscriptions with Musicoin.
  5. The world’s first DJ mix powered with blockchain technology, “Rock the Blockchain” is released on Musicoin.org.

The future of Musicoin is rapidly coming to fruition. In the future we could see the Musicoin system embedded in commercial products such as speakers and headphones. Internet radio stations could stream Musicoin so that artists are paid for each listener. Web applications would easily allow the implementation of Musicoin links and streams. Soon, you may be able to buy tickets to events with Musicoin, band t-shirts, and a whole raft of goods and services normally associated with the music world. The overall effect of the Musicoin system could be artists making a decent living from fans the world over enjoying their music, and this is the world that Musicoin is helping to make.

The Musicoin view of the future and important milestones towards which it is headed.
The Musicoin view of the future and important milestones towards which it is headed.

Post script: a couple things worth mentioning is that Musicoin has an exlusive URL-shortener for Musicoin.org links, http://jam.dj and a new website administering dj mix policy for the Musicoin system has been launched, http://musicoin.dj

Also, fair disclosure in case its not obvious, The Hard Data is a big fan of Musicoin. We use it to pay our contributors, and accept it for t-shirts and magazine subscriptions. Musicoin helps fund content creation on theharddata.com. So, we are really biased when it comes to the topic of Musicoin. That said, we don’t think you will find a better music-focused digital currency and urge you to look for yourself if you don’t believe us.

Escape: Psycho Circus 2017 Early Report: Less Twerking at Basscon Stage than others, thank goodness.

Insomniac’s Escape line-up this year featured the Basscon stage. Ok, that makes sense. Unbelievably, in years past that has not been the case. But how can you have Halloween without scary hardcore techno and hardstyle I ask you? So fittingly, The Hard Data was out in full force Friday bringing you the goods. We got excellent interviews last night with Angerfist and Miss K8, Coone, DJ Isaac, Pulsatorz, Crisis Era and Da Tweekaz just for starters. You can look forward to those interviews hitting the print mag and online in the next week.

Getting to the site early is always a treat. You can walk around without stress and the vibe is nice. Since it opened at 4pm, it was daylight out and we got to get a good look at what Insomniac did with the NOS Events Center this year. It is super decked-out! The past events at NOS lately have mostly centered on the two big indoor areas, but here, they erected tents for the different brands, had a haunted maze, carnival rides… it’s the best I’ve seen the NOS look in a while.

There’s a good crowd here but not so packed it is annoying. One thing that occurs to me as an old school raver going back to the early 90s, is that Insomniac’s Events, even though owned by Live Nation, still retain that old school feel that I used to get playing at big chaos events in Victorville or wherever. All it is is more polished and professional. Say what you want about Insomniac but if anyone is going to represent the true rave vibe nationwide, they are the ones to do it. As an old schooler, I can logically see the history and how it all leads up to today. So, yes, Insomniac buys ads in THD, and we’re therefore a little biased, but I stand by my statement here and I don’t think many can challenge it even considering my bias.

Now getting back to the present… Escape is about Halloween, but frankly the raver crowd looks mostly the same as usual except most have put fake blood on themselves in strategic areas. We bopped around most areas Friday night and knocked out the aforementioned interviews in between dancing at the Basscon stage. Angerfist and Miss K8 knocked it out! Angerfist was playing a lot of his new tracks and there were some frenchcore flavored ones that ripped! Also the interviews this time were really good as you will read in the future. For whatever reason, the artists really brought up some good, interesting info last night.

One thing I noticed this event was that there is way less twerking at the Basscon stage than others. Thank you! I have to say, that I feel kind of sorry for especially the girls doing this. I mean, seeing them bend over and rub their butts on guys and think it’s a dance is pretty gross. And I don’t admire the guys on the receiving end either. I mean, do you really want your girlfriend rotating her butt for all to see? If she does that for you, dude, you probably aren’t the only one. It just looks full-on sad. I know most of these girls think its popular and a “thing to do” but in the end result it makes you look like more of animal than a person with feelings and aspirations. I know its probably not going anywhere soon, but it was nice to see less twerking at the Basscon stage.

Since its 95 degrees in the day, I can’t blame anyone for wearing no more than a bathing suit to these festivals, but you know the rave scene traditionally has been an “Escape” from mainstream culture and never really embraced the over-sexed to the point of exhaustion bent of mainstream culture. Hopefully we will see that feeling come back, because if we are all just concentrating on what’s down below, we can get distracted from rising higher, and really fulfilling our potential. I’m not saying be a prude, but it is the love of our culture that truly brings us together in a positive manner so that we can form truly satisfying relationships.

So now I’m going back into the festival. This is Deadly Buda reminding you, “The rhythm is life and death!”

Escape: Psycho Circus 2017 Early Report: Less Twerking at Basscon Stage than others, thank goodness.

Insomniac’s Escape line-up this year featured the Basscon stage. Ok, that makes sense. Unbelievably, in years past that has not been the case. But how can you have Halloween without scary hardcore techno and hardstyle I ask you? So fittingly, The Hard Data was out in full force Friday bringing you the goods. We got excellent interviews last night with Angerfist and Miss K8, Coone, DJ Isaac, Pulsatorz, Crisis Era and Da Tweekaz just for starters. You can look forward to those interviews hitting the print mag and online in the next week.

Getting to the site early is always a treat. You can walk around without stress and the vibe is nice. Since it opened at 4pm, it was daylight out and we got to get a good look at what Insomniac did with the NOS Events Center this year. It is super decked-out! The past events at NOS lately have mostly centered on the two big indoor areas, but here, they erected tents for the different brands, had a haunted maze, carnival rides… it’s the best I’ve seen the NOS look in a while.

There’s a good crowd here but not so packed it is annoying. One thing that occurs to me as an old school raver going back to the early 90s, is that Insomniac’s Events, even though owned by Live Nation, still retain that old school feel that I used to get playing at big chaos events in Victorville or wherever. All it is is more polished and professional. Say what you want about Insomniac but if anyone is going to represent the true rave vibe nationwide, they are the ones to do it. As an old schooler, I can logically see the history and how it all leads up to today. So, yes, Insomniac buys ads in THD, and we’re therefore a little biased, but I stand by my statement here and I don’t think many can challenge it even considering my bias.

Now getting back to the present… Escape is about Halloween, but frankly the raver crowd looks mostly the same as usual except most have put fake blood on themselves in strategic areas. We bopped around most areas Friday night and knocked out the aforementioned interviews in between dancing at the Basscon stage. Angerfist and Miss K8 knocked it out! Angerfist was playing a lot of his new tracks and there were some frenchcore flavored ones that ripped! Also the interviews this time were really good as you will read in the future. For whatever reason, the artists really brought up some good, interesting info last night.

One thing I noticed this event was that there is way less twerking at the Basscon stage than others. Thank you! I have to say, that I feel kind of sorry for especially the girls doing this. I mean, seeing them bend over and rub their butts on guys and think it’s a dance is pretty gross. And I don’t admire the guys on the receiving end either. I mean, do you really want your girlfriend rotating her butt for all to see? If she does that for you, dude, you probably aren’t the only one. It just looks full-on sad. I know most of these girls think its popular and a “thing to do” but in the end result it makes you look like more of animal than a person with feelings and aspirations. I know its probably not going anywhere soon, but it was nice to see less twerking at the Basscon stage.

Since its 95 degrees in the day, I can’t blame anyone for wearing no more than a bathing suit to these festivals, but you know the rave scene traditionally has been an “Escape” from mainstream culture and never really embraced the over-sexed to the point of exhaustion bent of mainstream culture. Hopefully we will see that feeling come back, because if we are all just concentrating on what’s down below, we can get distracted from rising higher, and really fulfilling our potential. I’m not saying be a prude, but it is the love of our culture that truly brings us together in a positive manner so that we can form truly satisfying relationships.

So now I’m going back into the festival. This is Deadly Buda reminding you, “The rhythm is life and death!”