If you’re unfamiliar with Ross, allow me to bring you up to speed. Ross is an artist who has dominated large parts of the hip-hop scene for years. Ross was one of the forerunners in revamping Miami’s rap scene and putting it back in the national spotlight. Predominantly influenced by Luther Campbell and the Notorious B.I.G., he began rapping in the 1990’s, fronting the group, Carol City Cartel. Their sound took its cue from Ross’ unique baritone voice; makes sense considering Ross is an imposing six feet at 300lbs.

Ranked fourth in MTV News’ 2008 “Hottest MCs In The Game” (a list of ten rappers), Ross was hot on the market. Sought out by the likes of Bad Boy CEO Sean “Diddy” Combs, The Inc. (formerly Murder Inc.) president Irv Gotti, and Def Jam Recordings’ Jay-Z, Ross eventually signed a multi-million-dollar deal with Def Jam. Ross’ cameo contributions to Kanye West’s (2010) My Beautiful Dark Twisted Fantasy helped propel him into the national spotlight.

Acclaim aside, Ross has also seen his fair share of contention. Most memorable is the controversy surrounding his having been a correctional officer in a Florida prison in the 90’s. This subject has been cause for feuds between Ross and others, namely 50 Cent. Ross initially denied the employment allegation but after his social security number proved the legitimacy of the claim, he conceded it to be true.

Ross also had a recent run-in with twenty-one year old female rapper, Kreayshawn. She briefly mentioned Ross in a recent freestyle live on Philadelphia’s Power 99 as she rapped, “You tryin’ to play me like a boss? You faker than Rick Ross.” Ross responded in a recent issue of XXL by saying, “I can’t wait to slap the sh*t out of whoever carries her bags. And I hope it’s her n–. Dirty b*tch. You better know who the f*ck you talking about. I’ll pay 50K to mess up your whole week.”

We’re not saying this guy is a role model in the least. He makes no effort to depart from the hip-hop genre’s pension for degrading portrayals of women, glorification of violence and drugs, and gluttony when it comes to wealth. However, whether or not you vibe what’s behind the sound that is Rick Ross, you’ve got to give this guy credit for the career he’s carved out for himself. Rick Ross, when it comes to the world of hip-hop, you done good… real good.

Words by Ariel Maccarone. Photos by Joe Gall.

Apologies to all you gorgeous party people, I’m afraid this week’s post is going to be a bit on the short side; was one of those highly infuriating weeks where there just wasn’t that much to write about and very few new tracks that I actually enjoyed. Although Sade (who doesn’t love a little Sade action?) announced the release of a second greatest hits album (no released date yet) and she finally agreed to collaborate with my future BFF Jay Z on a track for it. So that’s rather magical.

Cris Cab is a young guy from Miami who’s currently working with Pharrell on his debut album and garnered some attention last Fall with his cover of Wiz Khalifa’s “Black and Yellow”; this time around he’s covered Kanye’s “All Of The Lights” and I’m really digging it; it’s completely different from the original. Check out the video below.

Stream “Live Those Days Tonight”, the new track from Friendly Fires’ much anticipated, Pala (out May 16th). I really enjoyed their previous album and while this new song took me a few listens before I got into it, am rather liking it as well. Looking forward to giving the rest of the album a listen!

http://www.youtube.com/watch?v=9N9yLr2VmAY

Architecture in Helsinki (great name) covered Cut Copy’s “Need You Now” and I’m kind of, sort of, okay really in love with it.

The Morning Benders have put together an EP to support relief efforts in Japan entitled Japana Echo Ep. This EP was put together to support Japan in light of the horrific disaster that has taken place in there. Please give what you can, and know that 100% of these proceeds will go to the Japan’s Society’s Earthquake Relief Fund. On the front page of their website, Chris wrote “Last week we were scheduled to go to Tokyo to play our first show ever in Japan. It was going to be a very special trip for us, and for me in particular. I had always dreamt of going back to Japan to play music Not many people know this, but I was actually born in Japan, and although I only lived there for a couple years, I’ve always had a deep love for the country and its people. I cannot express how sad and helpless I’ve felt reading about everything that is happening there right now, and even though we couldn’t be there, we wanted to do everything we could to help.” Head on over here to donate and grab your download of the EP.

The Smashing Pumpkins pulled a robbery with their latest single “Lightning Strikes” (it was initially intended for The Electric Prunes; sadly their bassist, Mark Tulin, recently passed away). Corgan said “I found an element in it that suggests a bigger picture, and unfortunately I stole it back from them. The lyric in my mind combines the isolation of modern life with the need for a never ending romantic story.” “Lightning Strikes” (dedicated to Tulin) is part of The Smashing Pumpkins 44 track Teargarden By Kaleidyscope.

And lastly, head on over to the fine folks at NPR to stream Peter, Bjorn and John’s latest album Gimme Some until it’s March 29th release.

That’s it for this week kids!

Hope you all have a great weekend!

Peace, love and Red Bull

Mandy

In case you haven’t heard, this year’s Ultra Music Festival is SOLD OUT… Yep, they are, except for the VIP Tickets ChinaShop stashed and is giving away in the next 24 hours (How bad to you want em?).  Should you win, you could find yourself and your newest best friend sitting or more probably dancing your face off in the Red Bull Energy Station’s premium viewing area for the Ultra live stage (as well as many other VIP areas)!  So, game on – We will be giving away 6 tickets for each day of the Festival starting now!  Here’s the scoop…

1.) You must be 21 or older to win.

2.) You must find your own way to or be in Miami (we ain’t paying for your gas or hotel).

3.) You must be ready to party.

To win these amazing passes, Comment on ChinaShop’s Facebook page telling us why you are VIP worthy. Then, get a ton of your friends to “like” and/or comment on your alleged VIP status. Convince us of your “Coolness” and WIN your way into to the party.

Winners will be announced by 4pm PST (that’s 7pm if you are in Miami already). We will hit you back on facebook to let you know you’re in.

Good luck y’all VIPs,

ChinaShop

She’s been called Om Record’s First Lady of House, helped form the genre’s only female supergroup (SuperJane), and released some of last decade’s most infectious 12-inch singles in “Feelin’ Hypnotized,” “What Will She Do For Love,” and a sultry version of Robert Palmer’s “Didn’t Mean To Turn You On.” Indeed, Chicago’s DJ Colette is one of house music’s most well-respected performers and producers, and a 16-year veteran of the Winter Music Conference. You know, back when people traded vinyl by the pool and the only things that tweeted were the endemic Florida Scrub-Jays that hung out in the palm trees. We met up with Colette at a South Beach cafe to get her take on this year’s conference and the inside scoop on her next artist release for Om Records.

What do you think about the split between WMC week and Ultra week this year?

DJ Colette: I’ve been going to WMC for 16 years now, and it just reminds me of how it was a decade ago. You definitely see really dedicated house fans, and all the parties I’ve been to have been amazing. Definitely smaller venues, but I’ve been enjoying it and it’s been really quality music.

I feel like house music is omnipresent; very much the sound of the conference. In years past, you might have some techno or some breaks and maybe some drum ‘n’ bass, but I’ve heard nothing but house since I’ve been here, and not even really tech house.

DJ Colette: It’s just straight up house! Which is why I like it. I’m not mad at it! (Laughs)

Your label, Om Records, is going through a really interesting creative renaissance, signing artists like Groove Armada and Dirty Vegas. You’ve been with them for a while now. What’s the ride been like as of late?

DJ Colette: I’ve definitely noticed a big change in Om. They’re signing these international artists that are bringing a new audience to the label, which I think is really good for them. They’ve been around now for I think 17 years, and it’s very challenging to run a dance label, especially an independent one, so I think they’re doing an amazing job at keeping the brand fresh and finding new ways to keep their audience but bring in a bigger audience.

How do you use social media these days to help promote yourself?

DJ Colette: I enjoy it. I’m on Twitter and Facebook and still on Myspace, even though I don’t use it as much. I find it really helpful to share information with people about what’s going on with the music and just connect with people one on one. If anyone wants to ask me something, they can ask me on any of these social networks, and it’s great for something like Miami. You can do updates throughout the day about where you’re playing and what time. Years ago, people were always confused and texting, and because so many people were here, text messages didn’t go through. But now you can see where everyone’s at. I think it’s a fun way to also get another side of someone’s personality. Some people are obviously just putting out work-related posts, but some people you see a really silly side of their personality, which I like. Everyone is so much more than just music, and it’s interesting to see the quirkiness behind everyone.

Who do you follow?

DJ Colette: You know who’s really funny is Diplo. I love his Twitter page. Felix Da Housecat is really funny. He’s a friend of mine and I already knew that he was an eclectic personality, but it’s fun to see it on Twitter as well.

I checked out a panel on Wednesday with Beatport’s Matt Adell, and he said that new tracks by artists like Ke$ha, the Black Eyed Peas and Usher act as a “gateway drug” to dance music. It’s difficult for me to hear a song like “The Time (Dirty Bit)” and not hear something you’ve done as an artist years ago, and done better.

DJ Colette: There’s been traces of dance music in pop music for years and years. I mean, look at Madonna’s early works. It is interesting to hear so much dance music in pop music now, but part of it has to do with what labels you’re on and how much money is being put into your project, and that’s really the dividing point.

Have you noticed a change with your audiences?

DJ Colette: I haven’t really noticed a big change just yet. I think the positive thing about it is that when you do have dance music that’s integrated into commercial music, little kids are being introduced to it. Previously, someone who is 18 is hearing house music for the first time, whereas if they’re nine, they can hear a strain of it, so I think that’s positive. But I haven’t really noticed a difference. When I play underground clubs, everyone knows the music and they follow it and it’s definitely a lifestyle for them. Playing more commercial clubs, they might request wanting to hear the club mixes of these artists, so I still think there’s a big division.

Have you had a lot of success licensing your music?

DJ Colette: I’ve been very lucky. We’ve had three films we’ve had songs in: The Devil Wears Prada, House Bunny and Sex And The City, the first one. We’ve had some songs in some video games and some TV shows, and one of our songs was for a Motorola commercial a few years ago that was worldwide. Definitely very lucky.

Do you have any new artist material you’re working on?

DJ Colette: I’m halfway done with my new album for Om. It probably won’t come out until next year around this time, but it’s very close to being finished. So far I’ve been working with Santiago & Bushido and Tim K from Home & Garden and Green Velvet is doing a track for the album, as well as Treasure Fingers. We’re talking to some other people that I can’t mention yet ’cause it’s not confirmed and I would look foolish if they said no. (Laughs)

Words by Rich Thomas. Photos by Graham John Bell.

Excuse me while I date myself here, but the last time I was at a big party on Nikki Beach, it was the Astralwerks Records party in 1999, and Fatboy Slim, Cassius and Daft Punk (sans helmets) all graced the decks. Today’s lineup was nowhere near as explosive, but the crowd was just as packed, albeit with a polarizing Miami crowd. We’re talking more six-packs than a 7/11 and more thongs than a Havianas outlet. Factor in a booming sound system and speakers setup all throughout the property and you’ve got 360 degrees of pure electronic mayhem, not to mention enough eye candy to fill your quota for the week.

Progressive house seems to be the go-to style at WMC this year, and Second Sun was providing exactly what the crowd wanted, dropping big tune after big tune while the scantily clad masses gyrated, grinded, bumped and stumbled around, their $15 cocktails hoisted in the air. While a few South Beach hotels have sandy sections by their pool, Nikki Beach sits on city property, which means surf and sand abound. The plethora of outdoor mattresses and loungers invite partygoers to rest their dancing feet, but make sure you don’t plop down in a section reserved for bottle service or you’ll get the boot faster than you can say “trance is dead.”

German DJ Tom Novy was next up, and provided a bit more of the anthemic Euro feel you tend to hear a lot of at WMC. Provider of such chart hits as “Without Your Love” and “Your Body,” Novy threw together an antiseptically clean and well programmed set. For clubbers of this ilk, anything pumping and bass-heavy is all you need to keep the bodies on the floor, but Novy’s tunes worked in all manner of sonics. There were ten DJs to follow after him, which meant a 5am closing. Needless to say we did not stick around, and neither did the rain. The fist-pumpers had their sunset moment, and all was right in the land of the thick-necked and well-tanned.

Word by Rich Thomas. Photos by Graham John Bell.

Hip-hoppers at Winter Music Conference this year got a special treat when the Red Bull Music Academy announced a special two-day event featuring indelible MC Talib Kweli and producer 9^th Wonder that hoped to provide an intimate look into two of the game’s most talented and influential artists. After an interview and Q&A session on Thursday, the two artists would then regroup at the Delano Hotel’s Florida Room for an “On The Floor” performance. We had the chance to interview Talib before he took the stage for the interview portion of the event, held at the Raleigh Hotel. Then, due to flight delays with 9^th and the session moderator, we jumped on the mic to kick off the discussion while we waited for the rest of the crew to arrive. Below is a portion of our conversation.

How did your relationship with the Red Bull Music Academy come about? You did a Red Bull Sound Clash in Dallas with Ozomatli just recently as well.

Talib Kweli: I don’t know specifically when I started working with the Red Bull Music Academy, but I know I’ve been working with Red Bull before I even saw a can of Red Bull. One of my first shows in London was a Red Bull event, and I remember it was outlandish. It was big and outlandish for no apparent reason, and I didn’t know what Red Bull was, but I knew that I would see all these Red Bull ads and representatives and materials around the events that I was doing. As the years progressed, working more with the Red Bull Music Academy and the whole idea of it is just a great idea. I’ve been able to participate in producer battles and b-boy battles, judging things and involving myself in things that really focus on the advancement of the culture. A lot of people are wary of big corporations being involved in the culture to that degree. Red Bull certainly stands to gain from participating in the culture in that way because they’re available to associate themselves with things they love, but anybody who’s down to advance the culture in the way they have, whether it’s a corporation or not, is something that I’m always down to support.

You have a new album out called Gutter Rainbows. The first thing I noticed about it when I viewed the production credits online is the size and scope of the contributors; lots of live players and studio guys. Did this record represent a shift for you, sonically?

Talib Kweli: All my records have a lot of live instrumentation, but on Gutter Rainbows, there was a focus on having records that were primarily live instrumentation that I could perform with a live, band but still felt like hip-hop records. The beauty of it is that it can’t be easily duplicated. That’s what makes it hip-hop. The Roots are the only example, really, of a live band that’s been able to mimic hip-hop, but even what the Roots do is sort of the Roots brand of music. It’s deeper than the hip-hop thing. They do a part of their show where they mimic hip-hop beats, but when they make their own music, it’s Roots music. That’s definitely something that I focused on.

I personally think it’s really important for hip-hop to have artists that show to the mainstream that they can produce a live band sound that is different from what the Roots are doing, lest a “hip-hop band” be something that’s pigeonholed as one particular idea.

Talib Kweli: To be honest with you, I hear a lot of live instrumentation in most hip-hop. If you pick up any album, from Drake to Eminem to Jay-Z, just by the nature of having to clear samples at this stage of the game, you’re getting 80-90% live music on the album. But even though you’re getting that, the focus hasn’t been to make you as the listener feel like that. The focus isn’t as much on the producers. Two or threeyears ago, it was all about the producer; the era of the Pharrell and the Timbaland. Whoever was on the track didn’t even matter. That’s shifted a little bit.

You’ve worked with some amazing producers—people like Kanye, Dilla, Hi-Tek, Just Blaze, all with their own unique styles—but your albums have always had a consistency within themselves that a lot of other albums don’t have. Can you talk about some of the cats you worked with on Gutter Rainbows and how they helped keep that vibe going?

Talib Kweli: The producers I work with are very different stylistically, but they all have passion for hip-hop and the ability to create tracks that sound good with live instrumentation. Khrysis, E. Jones, Ski Beatz and Oh No are all students of Just Blaze and Premier and Pete Rock and Diamond D and Jay Dilla, and by the nature of us all being students of that sound, it sounds cohesive.

What led you to put out an album like this? Was there a specific catalyst?

Talib Kweli: Leaving Warner Brothers. I had the freedom to create an album and not ask anyone’s permission or get on anyone’s schedule for a release date. Not have to ask anybody for the money. Not have to ask why someone wasn’t following up on an email. I could just put it out and it would all be on me. I’d done stuff like that before like Liberation and Right About Now and mix-tapes, but this is the first time that I didn’t owe a record company a record in my whole career, and that’s why Gutter Rainbows sounds the way it does because it’s an album that I knew I could do. It’s an album that, I don’t want to say it was easy for me to make, but it was within my comfort zone.

When I was younger—and I do think this is a common sentiment of people my generation and older—I fell in love with artist by falling in love with albums. You listened to an entire body of work, you felt a connection to the artist, and hopefully it led to buying more albums and continuing on that journey. For kids right now, it’s all about playlists. It’s all singles-driven. Hip-hop is such a singles-driven market as it is. Do you think hip-hop artists need to work extra hard today to really establish that connection to their fans and build their careers and a body of work?

Talib Kweli: I think the focus is different. I’m from a generation where you did follow albums, but now people follow Twitter feeds and blogs. The music is very secondary to the personality that you put out there. So when you have groups like Odd Future from the West Coast or Mac Miller from Pittsburgh, these are artists who are on very different sides of the spectrum, but what they have in common is they’ve used the internet to open a window into their world, and you feel like their world is cool and that’s what attracts you to the music. I grew up on the tail end of the generation where we really heard the music first. I’ll never forget Hurby “Love Bug” Azor telling stories about how when Salt-n-Pepa put out their first record, “Push It” got so big that girls used to show up at clubs and perform the record as Salt-n-Pepa and get paid. ’Cause it was a white label. And he showed up at a club once and jumped on stage and was like, “This is not Salt-n-Pepa!” and he got kicked out the club. And that was the late ’80s. Imagine trying to get away with that in today’s era.

Back then, if you wanted to get close to the artist, you bought a ticket to the show and you got as close to the front as you could. Whether it was the press or label or management, there was a blockade preventing you from getting to intimately connect with that artist. Today, with social media, it’s a bit different. Still, people haven’t really found a way to translate that to album sales, at least not consistently.

Talib Kweli: You can get your YouTube hits up and you can get a record deal and you can go on tour and make money and sell some t-shirts, but it’s not translated to selling records yet. Soulja Boy kinda revolutionized the game because he figured out how to monetize his Myspace page, and that’s how he blew up. But now that he’s an official industry artist, his records aren’t doing what they used to do. People have not figured out how to monetize that. Whoever does will be a beast.

Words and Interview by Rich Thomas. Photos by Graham John Bell.

People-watching at the Winter Music Conference is one of the highlights of the week, and chlorinated bodies of water seem to bring out interesting behaviors. While taking in the soothing sounds of Daz-I-Kue, Alix Alvarez, Vikter Duplaix and other sun drenched DJs at the Lotus WMC 2011 Showcase, we noticed a few things happening poolside and thought we’d report back. All you people looking to hit up WMC in 2012 take note—here’s the ChinaShop guide on how to conduct yourself at a pool party. You can thank us later.

1. Do not use an overabundance of hair product
All that gel you slather into your hair looks awesome in the mirror before you leave your hotel room. When it turns white and drips into your eyes? Not so much. It burns, too. Rock some light paste and stay out of direct sunlight like this dude. Don Johnson five o’ clock shadow is optional.

2. Wear dark shades
Your frames don’t necessarily have to be dark, but your lenses should be. Too light and you run the risk of blowing your cover when ogling a passerby. Save those for nighttime parties. They help with the lasers.

3. Don’t be afraid to go topless
Guys, this is Miami. Taking you shirt off in public is okay, even if you have a bad tattoo or you’re not in the best shape. Just please make sure to cover up the top third of your crack. It’s not sexy, and no one wants to see it.

4. Stand out with bright colors
Neons and pastels will definitely get you noticed, but be smart. Mismatching will help you get noticed…so you can quickly be ignored.

5. Get wet
The pool isn’t just there for looks. Empty your pockets and hop in! Bring your friends! Just remember the following rules when engaging in chicken fights. Girl on guy: good. Guy on guy: obnoxious. Girl on girl: oddly, more obnoxious. Guy on girl: amazing.

6. Remember your flippy-floppies
If you’re at a pool party, chances are you’re going barefoot or open-toed, and since relieving yourself in the pool is frowned upon after the age of 8, you’ll have to use the bathroom eventually. The later it gets, the more exciting the floor gets. Collecting phone numbers is good. Collecting bacteria is bad.

7. Watch your jerseys on the shore
Everyone has a sports team they’re loyal to, but you might have to leave the jersey at home depending on what sport you follow. A vintage Dan Marino Dolphins jersey is acceptable in Miami, but any member of Raider Nation is not. If you can handle the sweating, a well selected baseball jersey looks cooler than you think it does. A soccer jersey, however, looks worse than you think it does. Most any basketball jersey works. Hockey fans? Hello? Anyone there?

8. Bigger is not necessarily better
Unless you’re a professional photographer, you don’t need a massive telephoto lens. A little point-and-shoot will suffice. If you are a member of the media, a 300mm attachment will do just fine. I saw a Russian guy today with a massive, 500mm all-black canon and asked if he got any good photographs of the DJ’s pancreas. He just looked at me weird.

9. Fist-pump responsibly
There’s nothing wrong with showing your love for the DJ by positioning yourself as close as possible to him/her, fist-pumping, and doing the scrunchy-faced head bob of approval. But unless you know the DJ personally or are being paid to be their personal “hype man,” don’t stand there all night. Osmosis doesn’t work that way.

10. Dance locally, think globally
We’ve seen the shirt. We know you’re “in Miami, bitch.” So are we. Try telling us where you’re from. One can only deduce so much from your tight baby blue shorts, your popped collar or your questionable bikini bottom. Besides, it makes for good conversation. Possible alternate options: We Are From France, From Russia With Love, Bring The (S)Pain!

Words by Rich Thomas. Photos by Graham John Bell.

Vagabonding with David Morales

WMC 2011, Day 1: Danny Tenaglia and the Way Back Machine

Sweaty, smelly, hot and cramped—and that’s just the cab ride to the venue. Our second stop of the evening was the official WMC Opening Night Party at the Vagabond downtown, where Frankie Knuckles, David Morales and Hector Romero were spinning house music so deep they should have been handing out free life preservers at the door. If Tenaglia’s set at the National was the appetizer, this was the main course, and the Vagabond did not disappoint.

It’s not a huge venue, but the partitioning of the rooms is genius. If you don’t get caught up in the first room, the main room will definitely suck you in. Low ceilings, crazy lights, and a sound system with as much whomp as a full scale LA nightclub. You don’t just hear the music at Vagabond. You get knocked around by it. Need a little respite from the audio/visual onslaught? Pass through a small hallway and out into the lush open-air patio where the Vagabond house band, 3^rd Party, is laying down a trademark Miami mix of jazz, hip-hop and soul. Fresh burgers are hot off the grill, and the palm trees sway back and forth with the patrons.

Dance music DJs like to talk about how their sets take you on a journey. For David Morales, that journey plays out like a cab ride through all the five boroughs of New York City. He’ll get hands in the air with back-to-back diva cuts, have all the girls dancing on tables with a few tracks full of cumbia rhythms, then do a deep dive underground with a song like Green Velvet’s “La La Land.” Even if house music isn’t your thing, it’s hard not to be moved by a Morales set. His style is relentless, and the packed house was content to throw it all back at him. By the time he brandished his new single, “You Just Don’t Love Me,” there wasn’t a dry shirt in the house.

I never had a chance to experience what the house music scene was like in New York in the late ’70s and early ’80s; warehouse parties packed to the gills with people of all sizes, shapes and colors dancing to an indelible mish-mash of funk, electro and disco. For DJs like Morales and Frankie Knuckles, those were the glory days of dance, and they were truly in their element. In the midst of a new electro revival spearheaded in the mainstream by artists like the Black Eyes Peas and Usher, it was good to get a little late-night history lesson from the teachers that originated the curriculum.

Follow all our WMC movements @ChinaShopMag

Words by Rich Thomas. Graham John Bell.

The National has a fantastic party setup. There’s a large foyer with a classy bar and patio dining area where you can relax and have a leisurely bite to eat. (Need a good recommendation? Ask for Maurice. He knows what’s good.) There’s a pool that starts at the patio, then runs lengthwise until it hits another pool. The entire back area is one big dance floor­—half wooden planks, half sand—with various loungers, chairs and cushions strewn throughout. The DJ cabana is small and surrounded on all sides by people who are close enough to hold a camera or phone a foot away from the DJ’s face.

Baltimore originators the Basement Boys are holding it down on the decks, spinning uplifting house tracks like a rerub of War’s “Galaxy” while someone out of view scats over the breaks. This is classic, old school flavor, and setting the stage nicely for a special one-hour set by the one and only Danny Tenaglia and a live performance by house diva Crystal Waters.

I’m posted up poolside making notes on my iPad, which officially qualifies me as “that guy”. The only other iPad I’ve seen tonight is being carried around by a German dude who’s written NEED CONDOMS on his screen using some kind of finger-painting app. So even though I’m “that guy,” I’m not “THAT guy”. There are a handful of people wading around in the pool. Some of them are wearing headbands with rabbit ears affixed to the top, though I’m not sure why. One guy from New York tells me he’s been waiting 25 years to hear Waters perform, which is odd given the fact that doesn’t look a day over 30.

Much to my surprise and delight, Tenaglia takes to the decks at 9:01pm. The last time I saw him at WMC, he played a marathon 10-hour set in a small club whose name I can’t even remember. He’s a lynchpin in the scene; a house music granddaddy that should be paid homage by all who’ve come after him. Tonight he’s paying homage to the history of house music, kicking off his set with Crystal Waters’ “Gypsy Woman,” a track he says started it all for him 20 years ago.

He dropped an extended dub of Yaz’s “Situation,” then a brutal remix of Lonnie Liston Smith’s “Expansions,” which Stetsasonic made famous when they sampled the riff for “Talkin’ All That Jazz.” Tenaglia’s energy is infectious, and every few minutes there’s an old school head stepping up to the decks to give him pounds or hugs. The early set time meant a relatively thinner crowd, which meant you could get up close and personal with a DJ notorious for being camera shy and relatively reclusive. But Tenaglia looked amazing—better than I’d seem him in years—and his set reflected that rejuvenated vibe.

He announced that yesterday was his 50^th birthday, and that his plane was delayed from La Guardia so he had to come straight from the airport to the gig. “But this is all straight from the heart,” he said. On the first night of Winter Music Conference, that’s how it should be.

Words by Rich Thomas. Photos by Graham John Bell

Follow our movements at WMC @ChinaShopMag.