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In Bram Stoker’s 1897 classic novel Dracula, the titular count consumes the blood of those who cross his path, using the substance to gain terrible strength and power.
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Untold Festival, a dance music festival that’s happened in Romania’s Transylvania region annually since 2015, has used this regional vampire folklore to also gain power and give strength, but in this case for a very good cause.
With its Blood Network program, Untold has collected thousands of gallons of blood over the last eight years, with donations going to medical centers throughout Romania. In exchange for their blood, donors receive a complimentary day pass for the festival, the eighth iteration of which took place this past weekend (August 3-6), hosting roughly 420,000 attendees. The lineup featured more than 200 genre-spanning dance artists including Eric Prydz, David Guetta, Bebe Rexha, Amelie Lens and Tale Of Us, along with headliners including Armin van Buuren and Imagine Dragons.
“We thought, ‘What if we make a campaign based on the idea that vampires from Transylvania usually suck blood — but in this case they don’t suck blood, but [rather] donate it?’” Untold co-founder Edy Chereji tells Billboard.
From this simple, sanguine premise, Untold Festival launched their blood drive campaign in tandem with 2015’s debut festival. Initially called Pay with Blood, this Year One campaign got 1,500 Romanians to donate blood at transfusion centers around the eastern European country, which borders Hungary, Serbia and Ukraine. The mountainous, forested Transylvania region is in the heart of Romania, with Untold taking place at the Cluj Arena in the region’s metropolis city of Cluj-Napoca.
Beyond helping people, the campaign helped get the word out about the event, which upon its launch became Romania’s largest electronic music festival. It remains one of the only dance music festivals in the greater region, drawing fans from throughout Romania, along with Bulgaria, Moldavia, Ukraine, Albania and Greece. In 2016, Untold’s parent company, Untold Universe, launched a second event, Neversea, which takes place in the Romanian beach town of Constanța. A winter event, Massif, takes place in the ski town of Poiana Brasov, and Untold will launch another dance festival in Dubai next February.
But despite these national and international moves, Blood Network remains quite local. In its second year, Blood Network donors were able to give blood at both transfusion centers and via a mobile donation center that traveled around the country and which has since become a standard facet of the campaign. Donors can show up to this donation center on wheels, give their blood and immediately receive a free day pass for the fest.
Ahead of this year’s Untold, the caravan touched down in 12 Romanian cities between May and June. During this period, more than 5,000 donors gave more than 2,200 liters (roughly 580 gallons) of blood, with thousands of gallons also collected over previous years. Blood Network partners with doctors from Regina Maria Private Healthcare to coordinate these blood drives, with Regina Maria also receiving the collected blood.
While many dance events have charitable components, arguably few have the immediate effects of Blood Network, which isn’t just a festival marketing tool but a provider of life-saving blood in a country where it’s acutely needed. “Unfortunately, the donation in Romania is low, around 2% of Romanians donate blood,” says Ania Vladescu, Strategic Partnerships Manager at Romania’s Regina Maria Private Healthcare. “The Blood Network campaign created by Untold is very good, necessary and welcomed — it helps a lot.”
Vladescu estimates that over the last eight years, the campaign has gathered more than 37,000 donors, whose blood has helped and saved the lives of more than 100,000 people. She adds that blood donated by one person can save three lives.
“Anyone else who would have done such a campaign, anywhere in the world, would not have had the same trigger of authenticity as Untold, being a festival in the heart of Transylvania, the so-called land of Dracula,” Vladescu adds. “The vampire who normally sucks blood, this time invites you to donate blood to help people who suffer and save their lives.”
Anyone familiar with the world of deadmau5 is well-aware of the producer’s cat, Meowingtons.
The artist has announced he’s saying goodbye to the 16-year-old feline, due to, he wrote, “some cat medical bulls–t.” In a statement posted to Instagram Monday (Aug. 7), deadmau5 shared that “yeah meowingtons is just a f—en cat, but I’ll just say to me, he’s one of my best friends.”
“i don’t say that casually,” the statement continues. “16 years. he was my peace and quiet from the beginning of this bats— crazy rollercoaster career… the entire ride. no matter how frustrated, exhausted, depressed, stressed the f— out ive been, there he is. being the first person i see when i get home from some crazy flight and lugging my bags to the front door… watching his little floor duster wobble while he comes to welcome me home… the first person i see in the morning, and the last one i see at night when i’m ready to f—en clock out on the bed.”
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“well due to some cat medical bulls–t, tomorrow I have to help him cross the rainbow bridge. my heart is broken… it’s really a personal issue and normally i keep things to myself and I can kinda work through it on my own, but professor meowingtons phd is so special to all of us, i felt like i should let you know because he’s touched so many lives in stupid ways.”
The statement goes on to note that the producer, born Joel Zimmerman, will be taking “a small break” while he navigates the loss. The next scheduled deadmau5 show is Aug. 13 at Montreal’s ÎleSoniq Music Festival.
The artist provided a brief update on Tuesday (Aug. 8). In an Instagram post showing socked feet with chips crumbled around, deadmau5 wrote that he was spending some quality time at home with his beloved cat before saying goodbye. “he is very happy and lucid and isn’t suffering at all… we’re having a good time,” Zimmerman captioned the post. “He destroyed half a bag of doritos, so he’s in a good spot.”
Meowingtons is indeed well known to deadmau5 fans. In 2011, the Canadian artist launched the Meowingtons Hax Tour, naming the compilation LP made for this tour the Meowingtons Hax Tour Trax. Meowingtons’ image also graced the cover of the 2012 deadmau5 classic >album title goes here
This week in dance music: Kylie Minogue reached No. 1 on Dance Mix Show/Airplay with her unstoppable “Padam Padam” and we explored how the time honored tradition of the slow dance is shifting for Gen Z.
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And new music? We’ve got loads of it. Here are the best new dance tracks of the week.
Nia Archives, “Bad Gyalz”
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The Label: HIJINXX/Island Release
The Spiel: The U.K. jungle producer’s last few months have included opening for Beyoncé on the London stop of her Renaissance tour, a Coachella debut and very buzzy shows at Glastonbury and Primavera. Archives keeps this big time momentum going with her latest, “Bad Gyalz,” a cool, catchy ode to the junglist ladies turning out for her shows, which continue through the summer and fall with dates throughout Europe and Asia.
The Artist Says: “I was on ma way to the studio with Clipz listening to Ranking Ann who is one of my fave MCs — period. And then I was just thinking about tha fact that like, whenever I go to one of my shows, it’s 85% women ages 18 -25 which is so amazing! And they are all baddies, absolute junglists. So I wanted to make a song that represents that and tha women that come to ma raves. And that’s how ‘Bad Gyalz’ was born!”
The Vibe: Blissfully sweaty on a packed dancefloor with all your fellow gyalz.
David Guetta & Bebe Rexha, “One In a Million”
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The Label: Warner Records
The Spiel: As Guetta and Rexha continue their major Hot Dance/Electronic Songs hot streak with “Good (I’m Blue)” — which is currently sitting at No. 1 in its 48th week on the chart — the pair double down on their collaborative magic with “One In a Million.” As Guetta layers up characteristically peppy piano stabs Rexha declares, “I can’t believe we’re both alive at the same time” in her signature chromatic purr, altogether creating the euphoric, unabashedly saccharine dance vibes that both are so skilled at, and are especially good at together.
The Vibe: Screaming along in the car, certain you sound excellent.
Grabbitz & bbno$, “Ticking Away”
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The Label: Riot Games
The Spiel: A leader in the headbanging space where electronic music meets rock, Grabbitz returns with another banger in that realm, “TICKING AWAY.” A collaboration with rapper bbno$, the propulsive, deliciously heavy song is the official anthem for the VALORANT Champions Tour, for which the Riot Games’ brand will host performances and activations around Los Angeles (including an event with Brownies & Lemonade on Aug. 23), leading up to the VALORANT Champions Finals on Aug. 26 where Grabbitz and bbno$ will perform the song live for the first time.
The Artist Says: “It’s been an honor to work with VALORANT for three years in a row now,” says Grabbitz. “To see the impact the songs have had on the community and the players has been astonishing.”
The Vibe: Riding the rail (of your favorite first-person tactical hero shooter game.)
Spencer Brown, Wilt Claybourne & Ladysmith Black Mambazo, “Awu Wemadoda”
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The Label: diviine
The Spiel: Spencer Brown comes hot out the gates with “Awu Wemadoda,” the lead single from his third studio album Equanimity, set for release this fall. A collaboration with the legendary South African choral outfit Ladysmith Black Mambazo and producer Wilt Claybourne, the song is a beauty — breezy, soothing, uplifting and the very essence of the title of the album from whence it comes.
The Artist Says: “Every day, I saw a rapid-fire stream of contradictions: sugar-coated highlight reels balanced by extremism and negativity from the news, designed to game our emotions for attention,” Brown says of life during the pandemic. “After enough nights driven by pain and uncertainty, I realized that all I can control is how I let external stimuli affect my being. At first, I tried to eliminate the things causing my day to worsen; then, I realized I had to be OK with them. I had to accept difficulties and let them pass through me. During this period, a friend introduced me to the concept of equanimity, describing it as “calmness and composure, especially in a difficult situation.” This was the exact skill I had unknowingly been trying to find. But like a muscle, it takes time to engrain deep strength in the core. In reality, peace exists around us if we can stay unaffected by the noise. Written between 2019 and 2023, Equanimity describes how I learned to be OK when external stimuli are out of my control. All we can do is work on how we react to the world around us.”
The Vibe: Calmness, composure, cathartic dancing.
Swedish House Mafia, “Ray Of Solar”
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The Label: Republic Records
The Spiel: The Swedes swing for the fences on their latest single “Ray Of Solar.” Built around a sort of spooky, crystalline vocal from singer Tove Burman, the production ramps up quickly and heavily with a sudden wave of piano stabs and a stuttering synth hitting peak time mode around the 1:30-minute mark. The song follows “See The Light,” with the pair of tracks expected to serve as the two lead singles for a new upcoming SHM studio album.
The Artists Say: “Once we recorded these vocals we really got transcended to space,” the trio say in a joint statement. “We listened to it on repeat all night and imagined floating in space. This is the summer record for us and even though we’ve heard it a million times and still feel the power of it, it’s a really special one, the unique vocal with our style of writing melodies makes it special! Doing this together with Tove was incredible as we really felt we gave it a true Nordic sonic landscape. We love every second of it and can’t wait for the world to hear it!”
The Vibe: Sonic strobe light.
Kylie Minogue rises to No. 1 on Billboard’s Aug. 5-dated Dance/Mix Show Airplay chart with “Padam Padam.”
The song gained 16% in plays July 21-27, according to Luminate. In all but one of its six chart weeks dating back to its July 1 debut, it has made double-digit percentage gains.
By climbing to the top, Minogue replaces Rita Ora’s “Praising You,” which features Fatboy Slim via a sample of his 1999 classic “Praise You.” That track had been No. 1 since before “Padam” entered the chart, beginning its six-week reign on the June 24-dated tally.
The two No. 1s before Ora’s were also collaborations, with David Guetta, Anne-Marie and Coi Leray teaming up on “Baby Don’t Hurt Me” (three weeks) and Calvin Harris and Ellie Goulding on “Miracles” (two). On average, collaborations have ruled for three of every four weeks in the last three years (73% of the last 157 frames), with Minogue one of just nine solo women to get to No. 1 since summer 2020.
But Minogue is no stranger to the top spot, though it has been a while. She last led with “Red Blooded Woman,” for two weeks in May 2004. That track was sandwiched between her other top 10s: “Slow” reached No. 7 in 2003 and “I Believe In You” hit No. 4 in 2005 (marking her last top 10 until “Padam”).
“Padam Padam” is Minogue’s second Dance/Mix Show Airplay chart-topper and 10th chart entry, although her career pre-dates the list’s 2003 launch; she first reached rankings in 1988. She boasts five top 10s on the Top Dance/Electronic Albums chart, with Disco having become her first No. 1 in November 2020.
Meanwhile, being promoted to pop and adult radio, “Padam Padam” — the lead single from Minogue’s album Tension, due Sept. 22 — debuts at No. 40 on the Adult Pop Airplay chart. It’s her first entry on the chart since “Can’t Get You Out of My Head,” which reached No. 23 in April 2002. That song became her second of two top 10s, reaching No. 7, on the all-genre, multimetric Billboard Hot 100, after “The Loco-Motion” hit No. 3 in November 1988.
Eric Prydz is making moves. The Swedish producer is now represented globally by WME. The news marks Prydz’s departure from North American representation with CAA, where he signed in 2021. Prydz continues to be managed by Michael Sershall at London’s Sershall Management. Prydz’s team also includes global press by Infamous PR. Prydz is among a WME […]
This week in dance music: Beatport announced that it’s awarding $150,000 in grants to initiatives supporting diversity and equality in dance music, and we went behind the scenes of Toolroom Records — the U.S. tech house label currently celebrating its 20-year anniversary — with the imprints founders Mark and Stuart Knight.
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New music? We’ve got it. These are the best new dance tracks of the week.
Calvin Harris with Sam Smith, “Desire”
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The Label: Sony Music Entertainment
The Spiel: Harris continues on the trance tip started with his March Ellie Goulding collab “Miracle” by pairing up with another old pal, Sam Smith. Together the duo also delve deep into the trance realm, with flecks of piano giving hints of Robert Miles’ genre classic “Children” while a galloping beat serves as a foundation for Smith to breathily declare, “You are my desire, and just the thought of you is keeping me awake.” The star of the show here is the squiggly synth line that Harris inserts throughout, giving the song a very late night club vibe that nonetheless will surely work on the many mainstages Harris is playing this summer.
The Vibe: Urgent. Anthemic. Maybe also acid?
DJ Koze, “Candidasa”
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The Label: Pampa Records
The Spiel: The press release for the German producer’s latest notes that it’s “the result of DJ Koze’s inspiring stay in a secluded Benedictine monastery on the enchanting island of Sulawesi. Amidst this idyllic setting, he found the perfect environment to unleash his musical vision. He composed all of the music of ‘Candidasa’ while lying on his stomach, in an act of deepest devotion and self-reflection. In doing so, he fed exclusively on so-called heroin kebabs to immerse himself in a trance-like state of creative flow.”
This all might be true, or none of it might be true, or some of it might be true. In any case, the 10-minute experimental production is the kind of hypnotic, inventive, playful, kind of mystic music one would create if they were indeed in such a stomach-down trance like creative flow. The song comes from the two-track Wespennest EP, which are together Koze’s first new music since 2018 and part of the lead up to a new album coming in 2024.
The Vibe: Deepest devotion and much dancing.
Jungle, “Back on 74”
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The Label: Caiola Records
The Spiel: Jungle return with the same kind of tight, breezy, throwback production that’s become their signature. A warm summer afternoon of a song, “Back on 74” comes with one of the intricately choreographed music video’s that have become the duo’s signature — this one leveling up as a first-of-its-kind interactive music video made with WeTransfer. The clip functions like an interactive art gallery, with viewers able to download works of art as they watch. When the viewer claims an artwork they like, it is pulled from the video canvas in real time, revealing a blank canvas in its place. Every viewing of the video populates with six different art pieces, pulled from a bank of 10,000 unique works created by the duo’s J. Lloyd.
The concept creates a different viewing experience for each person, with tickets for Jungle’s upcoming tour hidden in some of the downloadable artwork. For the next two weeks, the video is available exclusively at junglejunglejungle.wetransfer.com. The song itself is from the U.K. duo’s forthcoming album Volcano, coming August 8.
The Vibe: The classiest gallery on the internet.
Mia Moretti, “Sweet Juju”
The Label: Spaghetti Moretti Records
The Spiel: Fresh off DJing the Barbie premiere party last weekend (check her playlist from the event here), DJ/producer Mia Morietti demonstrates why she was the woman for the gig with a fresh, fun, extremely effervescent new single, “Sweet Juju.” The song sounds exactly as its name suggests, with Moretti layering a funky guitar lick with loads of hand percussion and whistles and crowd sounds and an infectious vocal hook into a track that really does sound like a party.
The Artist Says: “‘Sweet Juju’ is a NYC summery disco bop,” Moretti says. “I made this track during a cold New York winter, dreaming of the days when it would be too hot to do anything but dance. Sweaty block parties, impromptu stoop hangs, boombox bicyclists, funky bodegas and dark basement clubs are the summer moments ‘Sweet Juju’ is made for. It’s infectious, delicious and full of summer soul.”
The Vibe: What she said.
SIDEPIECE, “What You Need”
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The Label: Big Beat Records
The Spiel: The SIDEPIECE guys just know what they’re doing, adding another hypnotic tech house anthem to their catalog with “What You Need.” The song’s success is largely a function of an earworm vocal that adds melody over the track’s thumping, scintillating percussion which builds to a perfectly effective build and release, altogether cultivating the kind of party anthem these guys have made their name on. The song is part of a two-track release that also includes the similarly effective “Stimulate.”
The Vibe: You do actually need it.
Listeners are feeling the rush! Troye Sivan’s newest single debuts across a wide spread of July 29-dated Billboard charts, spanning genres and geographical borders.
“Rush” is new on the Billboard Hot 100 at No. 77. That marks Sivan’s first entry on the list since 2021’s “You” with Regard and Tate McRae, and first solo appearance since “My My My!” in 2018. The new track scored 6.1 million on-demand streams and sold 2,000 copies in the week ending July 20, according to Luminate.
Sivan adds eighth career Hot 100 hit, having hit a No. 23 high with “Youth” in 2016.
Sivan released “Rush” on Thursday, July 19, spurring enough activity to debut on last week’s HotDance/Electronic Songs at No. 30 from one day of consumption. This week, it blasts to No. 3. It’s his first solo hit on the chart; he spent eight weeks at No. 1 with “You” in June-August 2021.
“Rush” also hits No. 1 on Dance/Electronic Streaming Songs and Dance/Electronic Song Sales.
The song’s success extends beyond these U.S.-based charts, debuting on the Billboard Global Excl. U.S. survey at No. 29 and the Billboard Global 200 at No. 34. Worldwide, “Rush” drew 23.4 million streams and sold 4,000 downloads in the tracking week. It’s Sivan’s first time in the top 100 of the Global 200, much less his first in the top 40.
The immediate success for “Rush” builds upon the slow-burn rise of Sivan’s “Angel Baby.” Released in September 2021, “Angel Baby” first appeared on Global Excl. U.S. seven months later, on the April 16, 2022-dated chart. It ultimately rose to No. 75, and No. 156 on the Global 200, largely backed by consumption from Asian countries. It topped Billboard’s Hits of the World charts in Malaysia and the Philippines and hit No. 2 in Indonesia and Singapore.
“Rush,” on the other hand, opens at Nos. 13 and 14, respectively, on Australia Songs and Ireland Songs, while hitting No. 40 on the Billboard Canadian Hot 100. While traditional ballads like “Angel Baby” are welcomed Asia (Justin Bieber’s similarly paced “Ghost” was the lone other English-language track in the top 10 in Malaysia at the time), these primarily English-language markets, particularly in Europe and Sivan’s native Australia, tend to be riper for a pop-dance track like “Rush.”
On July 27, 1983, Madonna released Madonna, a self-titled debut that introduced the world to a Michigan-born, New York City-based woman who would become one of the most influential pop stars of all time. The album entered the Billboard 200 at No. 190, eventually hitting No. 8 and producing three top 20 singles on the […]
“Toolroom” isn’t some metaphor.
In 2003, the electronic record label was launched by producer Mark Knight and his brother Stuart. The imprint was named for their office space — an actual tool shed in the yard of a house in their native Maidstone, 90 minutes southeast of London. From this humble setting, the pair began releasing house records largely by Mark, who was then also fusing house and techno into a new sound.
20 years later, the genre that Toolroom helped create its name on — tech house — is the most popular sound in commercial dance music. But while Toolroom laid the foundations for this phenomenon, Toolroom isn’t necessarily the genre’s biggest commercial star. The Knight brothers are okay with that.
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“We were always just a little bit too early,” Mark says over Zoom. “We would always do the groundwork for everyone to just come and go, ‘Thanks for getting that off the ground.’ I remember 15 years ago, talking about why I love tech house, and people were just looking at me like, ‘What the f— are you playing me?’”
But that hasn’t stopped Toolroom from becoming not just a respected label outputting relevant records, but a company that’s evolved its offerings, and revenue streams, in each era of its existence
With Mark as creative lead and Stuart heading the business, Toolroom launched in a precarious moment, two years after the advent of the iPod and at a time when physical sales were dwindling. “We could see on the horizon how digital would take over and how it would affect us,” says Stuart.
The early years found Mark traveling to New York and other U.S. dance hubs to play shows, staying on friends’ couches to save money while trying to break his name in the States. The label gained real traction during its initial treks to Miami Music Week, which provided, says Stuart, “the first opportunity we had to be around both industry and customers.”
This customer access expanded significantly in 2004 with the launch of Beatport, the digital download store for DJs. Toolroom was one of the first labels to put its music up for sale on the platform, which was then based in Denver. For the following few years, 70% of Toolroom music bought via Beatport was by customers in the U.S. By 2014, Mark would become Beatport’s best selling artist, behind deadmau5. He now ranks at the platform’s No. 7 all time house artist, with Toolroom ranking as the No. 2 all time house label.
Mark Knight and members of the Toolroom staff
Courtesy of Toolroom Records
“We were a small label in a tool room in a small town outside of London selling our music in the U.S., which has always been the hardest territory for a U.K. label to break in,” says Stuart. “It was an eye-opener that we didn’t have to jump on a tour bus and tour the whole of the U.S. [to gain success.]”
In this same era, circa 2007, Mark was also touring the States, capitalizing on the label’s U.S. growth and proselytizing for his still-then-underground house/techno fusion. Hits in this era included Knight and Funkagenda’s “Man With the Red Face” and Knight’s remix of Florence + The Machine’s “You’ve Got the Love.” Meanwhile, Toolroom was also releasing tracks by greats including Fatboy Slim, Underworld, Armand van Helden and a flurry of rising stars.
Then, a few years later, EDM happened. Like many labels at the time, Toolroom was swept into the phenomenon, despite the fact that they didn’t necessarily care for it. (“It was so big and also unrelatable,” says Mark, “when you see people jumping out of private jets spraying champagne on each other and we’re working nine to five trying to make those records big.”) Still, they shifted releases to fit more into the big room sound that was pulling millions of new fans to the genre while generating billions of dollars for the global dance industry.
“In the midst of that, we were putting out music from Hardwell and people like that,” says Mark, “which wasn’t really what we were about.”
In time, feeling a course correction was necessary, the label launched a 2014 #RESET campaign during which it slimmed down its artist roster, launched a new album series and reconfigured its live events in an effort get back in line with the Knight brothers’ original vision.
“I don’t mean to sound condescending, but it’s really basic music,” Mark says of EDM. “And it’s great because it appeals to a broad audience, but we always knew that if we just stay true to ourselves, when those people have kind of refined their tastes and the drugs have worn off a bit, they’ll realize, ‘I don’t actually like this, because it’s actually crap — but I really like this, because it’s the more sophisticated end of that world.’”
Mark Knight with fans
Courtesy of Toolroom Records
In fact that’s actually happened, with house, techno and tech house becoming the prevailing commercial sounds of U.S. dance music, with the U.S. scene catching up to the sleek, sexy, adult vibe Toolroom has been promoted since its inception.
“I stuck with it, and I guess if we hadn’t made those move,s we wouldn’t have the Fishers and Chris Lakes of this world enjoying the success of the groundwork we put in, and look — good luck to them. They’ve embraced what it’s about, and they’ve commercialized and done very well from it.”
Meanwhile Toolroom and its 15-artist roster have stayed largely in the realm of club records and clubs sets, which include upcoming shows in New York, Toronto, Montreal, Chicago and London throughout August. Toolroom has also evolved the business, with its Toolroom Academy launching in 2016 to offer DJ courses, sample packs, software and plug-ins. Prices range from $50 for an online course to $10,000 for a three-month intensive, with the label using the school as a talent pool and often signing particularly good productions. The Academy now has roughly 7,000 students. Mark says Toolroom also now earns more revenue via Peloton than it does from Beatport sales.
“We have evolved from a record label to a record company,” says Stuart. “A record label puts out music; a record company puts out music, but finds everything they can around putting out music to monetize. That’s really exciting, because one week it can be putting out music, the next week it’s, ‘How does that fit into someone doing a spin class, or educating someone how to produce?’”
Two decades in, Toolroom now has a staff of 22 and an actual office space for them to work from. Mark’s weekly Toolroom Radio program draws 16 million weekly listener. In 2018 the label launched its We Are Listening Initiative to identify releases from female producers. 2023 releases from KC Lights, Leftwing & Kody and ESSEL have been streamed millions of times. It’s a lot of accomplishments for a label Mark says has always just been “a little bit ahead of the game.”
“That’s cool in our own way, because we’re pioneering,” he continues. “We can always look back and say we were the first to make these moves. Did we make as much money as some of the other guys? Maybe not. But you know, we’re very happy with where we are in life.”
Beatport on Tuesday (July 25) announced its second annual Diversity + Parity Fund, with which the company will award $150,000 to initiatives that expand diversity and equality in dance music. The fund will award two kinds of grants: one that awards amounts between $3,000 to $15,000 to smaller organizations consisting of one to three staff […]