When I perform, I don’t think about the haters, the Internet trolls, or anyone else. I care about giving the person in front of me something they won’t forget. And that’s why I bring the cake and raft out.
Dance music is my love, is my passion, is my life. I live for my fans and take my art very seriously.
Dance music is an emotional journey. It's how well you can make people feel something that they haven't felt.
I love collaborating outside of my space.
Im 36, but I still feel like a punk kid with $200 in my savings account.
No matter what I do, I can't help but feel that I'm under a microscope. Some of it is completely silly, and some of it is meant to be hurtful. For example, a website accumulated all of my music videos to point out perceived Illuminati images. I loved that one. Of course, it was all ridiculous but funny.
I always tell up-and-coming DJs you have to really love what you do and find that interest to drive you. It requires so much attention to detail, and it takes up a lot of your time. You hear a song, and there are so many little pieces that make that song work. It requires a lot of patience, diligence and resilience.
For a producer, you want to be in L.A. You want to be close to the action, and in L.A. there are always singers, artists, songwriters, collaborators and other producers. It's easy to get access to all that, which gives you more opportunity to work records.
For a DJ at my level, you can really go through life and travel the world without seeing a single thing. It's harder to go out and see the sights than it is to play a show.
My life, I swear, is, like, 75% public. I have a very small percentage of my life that is private. But I do keep that private life private.
On my YouTube channel, I put up 3-4 videos a week, and I spend a lot of money to maintain that content. When I travel, I travel with a videographer and a photographer no matter what.
The thought of bringing a cake into a dance music show is a bizarre one. The idea of rafting on top of people is just as bizarre as well. And I think whenever something bizarre comes into play, it immediately becomes an easy target. And for those reasons, I know that I have been the target of criticism.
Artists have so much more control of their futures - they don't need to rely so much on major labels or big companies to help them. You have artists like Skrillex that can dominate so much that he gets 5 Grammy nominees, and he's clearly an underground artist.
Grateful to The Kerry Gaynor Method for saving my manager's life. He quit smoking thanks to their genius Method.
For me, I guess the general reason for using social media is that the connection I have with people who are interested in my music is extremely important to me. That connection is like the pillar in everything I do. I want to embrace that connection and make it stronger.
My first year in L.A. I felt lost in that big city. It's easy to be tumbled around and not figure out where you fit in even when you find your little niche.
My first job was working at Benihana as kitchen help. In college, I was a telemarketer for a company at the same time I was a bike messenger for this greasy fast-food place.
I have been doing merch' since I was 15 and in bands when I was a teenager - silk-screening shirts, making the emulsion in my mom's closet I converted into a dark room, through college. That's essentially how us bands survived was selling homemade t-shirts.
To come out here and play on Woodstock grounds, first year ever headlining on the main stage there's nothing more iconic. [Mysteryland] is one of those festivals that holds down the legacy of dance music it's been around for so many years. It's been part of what we do for so long. It kinda makes sense to bring the tradition over here to America. The festival grounds of Woodstock, that's pretty epic.
High school and college were my punk, formative years. I was playing hardcore, learning to be a musician. In bands, you tour, but you're paid nothing; you're playing to 50 people in a basement, sleeping in a van, and you love it.
'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.
