Tuff Turf latest offering is a Deep, Housey remix of Ciara latest hit “Overdose”. The Tuff Turf duo consists of two veteran San Diego Club DJs. Angle & Este. Each has firmly established themselves in the San Diego nightlife scene.
Mostly playing open format gigs , the duo decided to get back to some of their “Djing Roots” and open opportunities to play some of their favorite styles of music. Their remixes and originals all have a similar sound and vibe. A Deep, Vocally, Nu-Disco, House feel. This “hybrid” has quickly gained support from artists such as Cajoline, Le Youth, & Steed Lord just to name a few.
DJ Kaku is one of the hottest young talents in Asia, Japanese born, California raised, living in Taipei, this dude brings down the house live! I was very impressed the first time I caught his live set, amazing energy. I was fortunate enough to meet him through my good friend DJ Bento when I was booked out in Taipei, Taiwan at Spark Nightclub where he is a resident along with their newer Hong Kong venue. He is now also a resident at new Hong Kong hot spot, Play Nightclub.
Kevin Ou, who was living in Taipei and I had never met happened to originally be from Anaheim, California, where I grew up. Which was crazy to me, small world. We had a mutual friend that I went to high school with named Sal who connected us, in which I’m extremely grateful for because Kevin & Kaku are pretty much responsible for introducing me to Din Tai Fung, an amazing Taiwanese dumpling house that is only found in Seattle, Los Angeles, and about to open in Orange County. Highly recommend it! Always trust a chubby DJ! One of my favorite restaurants I’ve been to in the whole world. Another fun fact: Kaku also loves the Golden State Warriors. Only die hard Golden State Warriors fan I’ve ever met. Hahaha
Below I have posted somewhat of a throwback vid. When JD Live and I first did our little Club Killers Asia tour in 2012 connecting with DJ Bento, Kaku, & Inquisitive in cities like Tokyo, Singapore, Taipei, & Osaka. Enjoy.
Dad? No, that’s just Dillon Francis taking on the role of supermodel Olli Springer. “Being a supermodel is not an issue. You know, I don’t care to be good looking, I just force myself to forget it.”
Aside from loving cheese and reading authors from Baudelaire to Capote to Rembrandt (who is actually an artist), Olli stars in commercial number two demonstrating his passion for “BLOW,” the “Spray of Life.” The clip is eclectic to say the least, but Francis is renowned for his over-the-top antics and no other artist could have fit Olli’s role with such grace and bluntness. The LA DJ/producer is caught wearing red lipstick, a black feathery jacket, tight black pants, and a black wig, while he walks around the set with a zebra. “BLOW” is Olli’s essence; is it yours?
Lizzie Renck (Via Dancing Astronaut)
Universal Music describes a new lawsuit over VH1′s Masters of the Mix as a “cut-and-dry copyright infringement case,” but modest trappings aside, there’s a few reasons to pay attention to this one.
The complaint was filed in California on Friday against Je T’Aime Media Group, the show’s producer. Interestingly, VH1 and its corporate parent Viacom are not named as defendants.
Although live DJ music has somewhat been overlooked on the copyright front for many years, the lawsuit takes issue with a reality television program where disc jockeys compete for $250,000 in prize money and the title of vodka company Smirnoff’s official DJ for a year.
Universal Music says the producer of Masters of the Mix properly licensed sound recordings and musical compositions for the first two seasons of the show, but failed to do so for the third season. That season, which aired in 2013, is said to have used at least 93 of Universal’s compositions including songs from Daft Punk, Kanye West and The Roots and 115 of its sound recordings including works by Black Eyed Peas, Gwen Stefani and Nirvana.
“Plaintiffs’ copyrighted works are fundamental to the production and success of the Show,” says the complaint.
Besides seeking up to $150,000 for each copyright infringed, Universal is making common law misappropriation and conversion claims over pre-1972 recordings by artists such as James Brown, Marvin Gaye and The Temptations.
In the past year, the record industry has gone after Sirius XM and Pandora over pre-1972 music, and one of the responses has been that rights-holders have long given television broadcasters (as well as other music users) a pass on royalty collection on the older music. No longer, it seems. Until the issue is settled, pre-1972 music is a legally hot one, as the latest lawsuit evidences.
Eriq Gardner (via Billaboard)
Apple could be close to making its biggest acquisition in the company’s history, offering $3.2 billion to purchase headphone maker Beats Electronics, which recently launched a streaming music service.
Should the deal close, it would mark a major payout for Beats founders and music industry icons Jimmy Iovine and Dr. Dre, who launched the Santa Monica, Calif.-based company in 2008. Its products were produced by Monster Cable until 2012, when founders bought back control of the company from Monster and mobile hardware maker HTC.
A deal could be announced next week, individuals close to the companies say.
The deal stands out not only for Beats’ holdings, but because Apple rarely buys other companies to bolster its bottom line. That’s changed under Apple chief Tim Cook, who has dug into the company’s $133 billion coffers and acquired 24 companies in the past 18 months. He is considering other additions to the company to help its products stand out from rivals, including Samsung, and inject a “cool factor” back into the company that has relied on iTunes, its iPhone and iPads for far too long.
The Beats deal would make a lot of sense for Apple.
Beats has established itself as a major player in the industry with its colorful line of headphones. And its music streaming service, which launched in January for $10 a month, would be used to tune up a streaming service Apple has been developing internally. Beats Music competes with Spotify, Google Play Music, Pandora and Last.fm.
The Beats brand is also licensed to others under the Beats Audio brand and can be found in cars made by Chrysler, HTC smartphones and HP computers.
Marc Graser (Via Variety)
1. That “wow factor”: Nightlife owner/operator Victor Drai claims he always gives clubbers at least one reason to drop their jaws upon entering his clubs, and on this writer’s visit, chins were slamming the floor at the top of the Drai’s Nightclub stairs. The only downside of that moment—that first sight of a new all-stops-pulled dance space, surrounded by LED screens and trumped only by the view of the exotic Beach Club (and Las Vegas Strip) dead ahead—was wondering if the rest of the night could match it.
2. That party: Our fears were quickly allayed. Maybe it was just the casualness of a Friday night in Las Vegas, but on May 23, Drai’s only felt crammed toward the front of the dancefloor, where revelers prepared for headliner Eric Prydz. Drai had hoped for less DJ worship at his Cromwell topper, and by and large, there were more clubbers than concert-gazers, but for some, old habits seem to die hard. Luckily, the dancefloor was large enough to accommodate the rest of us who enjoy actual dancing, and dance we did to one of the best Prdyz sets we’ve heard in awhile. Also adding to the comfort level: wide walkways for shuffling patrons and an open pool area for some thump reprieve.
3. That outdoor oasis: And speaking of: Drai’s Beach Club is arguably more gorgeous than the 11th floor view its marketing touts. Not even the occasional sprinkle could drive attendees from socializing poolside or taking in the adjacent Strip or even sitting a spell if they happened to catch some open cushion. Its red/white/gold color scheme gave the space its class, while the towering palms dotting the pool perimeter lent it a bit of paradise.
4. That nu-school disco ball: If all eyes weren’t on the DJ booth—where dancers also slinked and shimmied in front of and aside the man dispensing the beats—that’s because the star of the show may have been the steel, illuminated polyhedron levitating above the dancefloor. It looked like a cross between the Death Star and Caesars’ old Omnimax Theatre, and while it didn’t immerse the room in spinning lights—other mechanisms provided different room-chasing effects—it mesmerized nonetheless. It’s probably dominating your Instagram feed right now, as it should be.
5. That bass: A horizontal speaker stack graced the rear of that aforementioned dancefloor, and it discernibly jumbled the organs of anyone dancing within 10 feet of it (or sitting atop it). It was pretty potent during Prdyz’s straight-ahead progressive house set, so imagine what brain-rattling reverberation a trap-friendly DJ set could cause. That might be reason enough to endure one.
Mike Prevatt (Via LV Weekly
Photos by Drais Nightclub