Yesterday at Winter Music Conference 2011—a slimmed down affair from years past, due to the Ultra Music Fest switching its dates to next week—we spotted plenty of Speedos and smelled plenty of body oil. We’re not complaining, but we do wish Speedos were issued like licenses—subject to approval from some governing body.
Inside the convention center, we tried to get an official pulse of the music industry by sitting in on “Postcards from the Industry,” a seminar with a lofty goal of offering attendees an insiders guide to building and maintaining a successful career in a constantly evolving industry.
Bruno del Granado of RM Entertainment echoed a sentiment that’s been true since the early days of Jazz.
“Most of the best dance music originated in the United States,” he said, “but it’s mostly big in Europe. They sell it back to us. It’s like we’re almost ashamed of it. But now with crossover artists like wil.i.am embracing dancefloor sounds, that may help change things here.”
True. Just ask Kevin Saunderson, Derrick May, and Juan Atkins, who saw their music marginalized in the States until it drifted overseas and incubated, only to return with a slightly different stamp. Jazz players have always made most of their money overseas.
In other WMC news, Brian Kerr, aka DJ Kerr, a 17-year old Florida based club and mobile DJ, won the DMC spinoff, sampling “Forget about Dre,” “LMFAO,” and “Ante Up,” and winning a Chauvet Scorpion, Pioneer CDJ-2000 and a Best Buy gift card.
As Kerr was excitedly telling us about his DJing ambitions, his mother, standing nearby, yelled out her excited offspring, “Remember, Brian, you still have to go to school tomorrow.”