Add an eventSessions at SXSW Interactive 2012 about Music in Austin Convention Center
Friday 9th March 2012
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Safe Harbor Room
The Safe Harbor Room is a place for people in recovery to meet during SXSW. The sessions are informal and supportive. SXSW is a challenging atmosphere for those who choose sobriety. All are welcome to come to the Safe Harbor Room to meet with like-minded attendees.
Saturday 10th March 2012
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Rhapsody to Year 0: Music & Publishing Go Digital
by Rob Reid
With book sales going digital much faster than music sales did, why is the publishing industry growing, and not imploding? How threatened are publishers & labels as content creators start developing audiences directly through iTunes and Kindles? What does this mean for independent writers & musicians? And do our deranged copyright laws benefit anyone but profiteering lawyers? Rob Reid’s talk will compare the online challenges faced by publishing vs. music. Rob founded Listen.com, which created Rhapsody – the first digital music service fully licensed by every major label. Rhapsody remains one of the largest online music services, and is owned by MTV and RealNetworks. Now an author, Rob’s in the thick of another industry’s digital transformation. Rob’s book Year Zero (published by Random House this July) addresses some of these issues. In it, aliens seek to erase the ruinous fines on their vast collections of pirated American music by destroying the Earth. Parts of it are made up.
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Safe Harbor Room
The Safe Harbor Room is a place for people in recovery to meet during SXSW. The sessions are informal and supportive. SXSW is a challenging atmosphere for those who choose sobriety. All are welcome to come to the Safe Harbor Room to meet with like-minded attendees.
Sunday 11th March 2012
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Safe Harbor Room
The Safe Harbor Room is a place for people in recovery to meet during SXSW. The sessions are informal and supportive. SXSW is a challenging atmosphere for those who choose sobriety. All are welcome to come to the Safe Harbor Room to meet with like-minded attendees.
Monday 12th March 2012
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Next Stage: Social Music Marketing: Bands, Brands & Fans
The lines between the digital world and the music world have blurred. Every minute a band signs up for Twitter, posts something on Facebook or updates their website reaching millions of adoring fans around the world (aka possible consumers). It’s no secret that music is a great way to reach and connect with new consumers but today’s landscape offers more than just connections. Hear from Dan Vinh (Renaissance Hotels), Courtney Blacker (JanSport), Umut Ozaydinli (Deviant Ventures), Brad Josling (HIP Digital) and Panos Panay (Sonicbids) on how they’re using Social Music Marketing to tap into emerging bands and these bands’ marketing prowess to create new brand loyalists.
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Next Stage present: Maywa Denki performance
Maywa Denki is an unforgettable Japanese performance art unit led by Novmichi Tosa that has taken Asia by storm. One part musical performance, one-part toy company and one part cultural icon, Maywa Denki is widely recognized for its exhibitions, live stage performances, music, viral videos and collectible toys, electronic instruments and other merchandise. Clothed in the typical working uniform of the Japanese electronics factories of the seventies, Maywa Denki embodies the values of the small-to-medium-sized enterprises that once supported Japan during its high-growth period. This "product demonstration" will showcase a number of Maywa Denki original and nonsense instruments, including Melodica, Otamatone, percussion drums and other surprising devices. Novmichi Tosa will engage the SXSW audience in his art and his mission with surprising insight and a sense of humor. Sponsored by IEEE Standards Association.
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Safe Harbor Room
The Safe Harbor Room is a place for people in recovery to meet during SXSW. The sessions are informal and supportive. SXSW is a challenging atmosphere for those who choose sobriety. All are welcome to come to the Safe Harbor Room to meet with like-minded attendees.
Tuesday 13th March 2012
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Music Discovery: Man vs. Machine
by Richard Slatter, Philipp Eibach, Heather Browne, Anil Dewan and Scott Perry
Spotify, Pandora, MOG, Aweditorium and many more aim to provide the ultimate experience in music discovery -- they claim to have the "winning strategy" with their unique combination of an extensive catalog, social media integration, and algorithms. But what about the human element in music discovery? Not just your friend who tells you what’s cool -- which is cool -- but real DJs, with a passion for music and the evolution of an artist. What about websites and blogs like Pitchfork and Stereogum -- humans who write about music and even present the music they write about? In the age of machines, is the human dead? Is there still a need for the knowledgeable, passionate, quirky but unpredictable human?Are hybrid models like We Are Hunted and WahWah.fm the future?In "Man vs. Machine for Music Discovery" KCRW, the noted station in Los Angeles, CA will convene a diverse panel to discuss their potential for success and what they might portend for the future of man vs. machine.
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Can Printed Electronics Save the Music Industry?
by Kate Stone, Tommy Perman, Jon Rogers, Kenny Anderson and Pete Thomas
We’re going to debate and show prototypes of how printed electronics could save digital music in the context of connecting communities to record labels and artists.
Printed Electronics is an emerging technology with the potential to change how we interact. We can now reliably print basic electronic components onto paper and card; and when connected to conventional electronics, has the potential to re-connect digital to physical for album covers, fanzines, merchandise, and getting new music heard.
We will bring physical prototypes as props in a discussion of what this technology could do and collaborate with the audience to test reaction and potential through hands in thinking.
Raising questions of what does digital mean to independent hyper-local record labels that want to connect with their community and how bespoke digital printed electronics on paper could achieve this and alter the future of digital music and how artists can connect to people.
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The Future of Music Consumption
by Ken Parks
As digital music consumption continues to increase, artists and consumers are finding new ways to engage within the digital landscape. Spotify, the leading digital music service, is helping to driving this digital conversation by providing a music discovery and sharing platform which caters to the modern, social consumer, supporting the artist as a engagement tool, and driving increasing revenues back into the music industry. In a fireside chat, Ken Parks, Spotify's Chief Content Officer & U.S. Managing Director and David Draiman, lead singer of Disturbed, will address the future of the music industry and where Spotify and the artist fit into this conversation.
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A Conversation with Cliff Martinez
by Brian Satterwhite and Cliff Martinez
Cliff Martinez began as a drummer for unconventional bands such as The Weirdos, The Dickies, Captain Beefheart & The Red Hot Chili Peppers. The desire to not wear a sock on his genitals at age 40 and an interest in new technologies led Martinez toward the world of film music. His first film was Steven Soderbergh’s first theatrical release (sex, lies, and videotape) and led to a longstanding collaboration with the director on films such as The Limey, Traffic, Solaris & 2011’s Contagion. His time in the punk rock scene has made Martinez’s scoring approach nontraditional. His scores tend towards the sparse, utilizing a modern tonal palette to paint the backdrop for films that are often dark & psychological like Pump Up the Volume, Wonderland, Wicker Park, & Drive. Join Cliff and moderator Brian Satterwhite, a film music journalist and UT Film Music Lecturer, as he discusses his body of work and techniques for keeping the sock from slipping off.
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Can Social Music Save the Music Industry?
by Seth Hubbard, Jason Herskowitz, Michelle You, J Sider and Mike McGuire
Can making the musical experience more social and shareable help the music industry survive? The degree to which any new digital music company will be successful will be based on their ability to engage people. Music is a social construct, and while people still sit at home listening to music alone, they are more likely to share their music experiences if given the tools.
The cloud has enabled people to do much more with music from interacting with the art, songs, and ephemera around their music, to being able to create their own content and layers around their music discoveries.
Will rich social functions - discovery, visualization, playlists, interactivity, maybe even game aspects, coupled with ease of use around multiple connected devices (i.e., go seamlessly from computer to phone to car to living room), find enough success to save the music industry?
This panel will investigate the different social and interactivity tools the music industry can use to add to their bottom line. -
Turntable.fm: The Future of Music Is Social
by Billy Chasen, Seth Goldstein and Jesse Kirshbaum
Turntable.fm came from out of nowhere to become the most addictive new music service. The success of the service shows how we are entering a stage where owning music as an individual is less important than playing it together as a community. Artists are embracing the service as a way to connect directly with their best fans in a live synchronous environment; Talib Kweli, Diplo, ?uestlove, Manchester Orchestra and Ra Ra Riot have all been seen spinning tracks.
In this fireside chat, we will discuss the evolution of and vision for turntable- how can users, artists, agents, managers, labels and advertisers all participate in and benefit from this social music experience.
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SXSW Meet Up Pavilion Gallery Artist Reception
For 2012 SXSW is highlighting Austin's local art scene in the Trade Show Meet Up Pavilion. A full gallery of work by Austin artists is installed in the Pavilion. Stop in anytime the Trade Show is open to enjoy the art and join us Tuesday, March 13 from 1:30 to 2:30 to meet the makers themselves. (Pattern Land 1 by Callen Thompson)
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Artists Scoring Film: New Trends in Composing
by Todd Bozung, Kier Lehman, Robert Kraft, Mark Nishita, Joseph Trapanese and Mike Shinoda
What do Trent Reznor, Daft Punk, Linkin Park and The Chemical Brothers have in common? They are recording artists who have crossed over into the world of film composing. This panel will discuss why more filmmakers and studios are turning to musical acts to give their project a distinct original sound and the importance of diversifying as an artist. From collaborating with filmmakers vs. band mates, developing soundtracks and blending their unique sound into score, artists will give a first hand account of their experiences and their significance in the marketing of the film. Key players will be defined, what role they play in the scoring process, how to grab their attention and land the gig.
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The Evolving Role of Radio
Radio has long been the principal pipeline connecting fans to artists. Even today it still accounts for 80% of the time Americans spend listening to music. But this medium is now undergoing a profound transformation driven by the arrival of ubiquitous internet connectivity. And this transformation has dramatic implications for musicians. Tim Westergren, founder and chief strategy officer of Pandora, will discuss his perspective on what it means for artists and the larger industry.
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Birth of Interactive Entertainment: Avatar to Björk
by Scott Snibbe
For twenty years, Scott Snibbe has advocated for a new form of interactive entertainment that moves beyond video games to treat interactivity as a full medium in its own right. He argues that interactivity has the same potential for emotional impact and engagement as cinema and music. In this talk, Snibbe will present two of his companies’ most powerful interactive experiences from last year, which point to the growing maturity of this medium: Björk’s Biophilia App, the world’s first App Album; and The James Cameron Avatar Experience, a fully immersive gestural interactive exhibition.
Scott Snibbe will discuss these two ends of the interactive spectrum, and the space between: from intimate apps beneath our fingertips, to fully immersive, social exhibitions spanning thousands of square feet. He will situate this work among selections of twenty years of his companies’ interactive exhibits, interactive art, and interactive music, as well as key examples from the last 30 years’ history of interactivity, and make a bold claim for the rise of this medium to rival movies. Snibbe will also discuss the educational, societal, and industry benefits of interactivity; and the joys, challenges, and research involved in the creation and distribution of these new forms of interactive media.
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Next Stage presents: Nive Nielsen & The Deer Children
by Nive Nielsen
If you got a team of the greatest children’s book writers in the world together, they couldn’t invent Greenlandic folk pop singer Nive Nielsen. In her case at least, band bios are simply stranger than fiction.
A few facts about her: The first concert she ever played was for the queen of Denmark on national television; she acted in the Hollywood movie The New World starring Colin Farrell; and she actually is Inuit — well, Inuk — an indigenous Greenlander. Also, it’s daylight all summer where she lives.
A few more facts: She plays a little red ukulele in a band called the Deer Children with her boyfriend, multi-instrumentalist “Cowboy Jan.” She writes songs about love and reindeer and forgetting to make coffee. She won an IMA independent music award in the US, and was nominated for the Nordic Music Price, worked with Howe Gelb, Tchad Blake & John Parish and friends from such indie royalty outfits as The Black Keys and Wolf Parade. Really, I ´m not making it up.
What’s even more surprising is that her fanciful back story is matched by her own ability to tell stories or sometimes just hint at them with her warm, reedy voice. Sometimes she sings out with and old-timey quaver; sometimes she sings in a soft, childlike murmur. The songs themselves are straight out of a storybook that never was. They could be from anywhere, and they are hard to place in time. They are hummable folk melodies with a streak of vocal jazz, or cowboy ballads with an elfin side. They have a way of sticking in your mind — and not just because they were written by the only Greenlandic Inuit indie ukulele player that you can think of off hand. Snow Songs? Inuit Indie? Do check them out!
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Safe Harbor Room
The Safe Harbor Room is a place for people in recovery to meet during SXSW. The sessions are informal and supportive. SXSW is a challenging atmosphere for those who choose sobriety. All are welcome to come to the Safe Harbor Room to meet with like-minded attendees.
Wednesday 14th March 2012
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Next Stage: Love Inks
E.S.P., Love Inks’ first album, was conceived and recoded with strict, direct motives. No frills, tears through extravagant side roads, solos, certainly no jamming, and no extra instrumentation. That being said, the album features a Dr. Rhythm 660, an electric guitar, an electric bass guitar, at special moments a Moog Satellite, and, most importantly, the vocals.
Our heroes are masters of simplicity and tact. The poet Frank O’Hara is one of them: “I don’t even like rhythm, assonance, all that stuff. You just go on your nerve. If someone’s chasing you down the street with a knife you just run.” This sometimes leads to uncomfortable situations, but we never get caught by the blade.
The idea was to get the purest signals from all instruments and feed them through a Tascam 8 track reel-to-reel, which would immediately warm the sounds and weave it all together. This process was drawn out on a piece of paper, in schematics form, before recording: the less digitized, the better. In March of 2010, we started the process with fifteen or more songs, and by June we were down to a solid ten.
The songs featured on E.S.P. were written to showcase the essence of emotion behind each instrument. It started as an exercise and became the only way to do it, forever. With the guitar and bass, we found there is a way to drop it perfectly into the song, in between everything, so that the vocal can exist in its own world, independently, above the song.
For the lyrics, Sherry channels the intensity and love between Yoko Ono and John Lennon. The art of Ono, inherently Japanese, is concise, and inspired John Lennon to follow suite: “Try shaving it all off and getting down to the nitty gritty—that’s what I always try to write. I’m not interested in describing a fucking tree. I’m interested in climbing it or being under it.” Give it to them straight, with honesty.
Sherry is also a firm believer in positivity. Her lyrics are never abusive or cynical. We are a family, and in some ways stronger because we are always supportive. The album reflects a time and place for everyone in the band. A time to pear down to what is necessary, essential. Cut out complexity, and you’ll find a deeper layer that is thicker and stronger. Like the human body, you’ll eventually end up at a nerve; once it’s hit, that’s when we know we’re there, and that’s when we press the record button.
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Music Publishing & Licensing Meet Up
The future for artist revenue streams is in old standards and emerging media. New ways to earn from publishing and new platforms for licensing mean new avenues to thrive as an artist and to creatively integrate music into your media. Marketers, advertisers, and brands can network with publishers and licensing companies to discover collaborative opportunities. Artists are invited to learn how to leverage art into a career.
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Next Stage presents: R. Stevie Moore
Improviser, composer, arranger, producer, musical conceptualist, comedy writer, vocal stylist, filmmaker, sketchpad artist, drama example, self-taught instrumentalist and bon vivant, R. Stevie Moore was born 1952 in Nashville TN to famed Elvis bass player Bob. Since '66 RSM has recorded nearly 2,000 songs on over 400 very original homemade albums of alarmingly idiosyncratic variety and styles, often considered a seminal pioneer in the DIY ethic. Remaining virtually unknown, he quietly resided in New Jersey as curator of his own museum. Until now... Based back in Tennessee and touring the planet. LOUDLY SHOUTING!
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Next Stage: A.Dd+
The Cowboys, the Grassy Knoll, J.R. Ewing, the Stanky Leg... Dallas, Texas, is known for lots of things. Progressive, forward-thinking hip-hop has, until now, not been one of them. That’s all starting to change, thanks to A.Dd+ (spoken aye-dee-dee). The quirky yet streetwise, fun-loving yet dead serious duo of Paris Pershun (a.k.a. 24-year-old Arrias Walls) and Slim Gravy (Dionte Rembert, 24), moves easily between slang anthems (“Likeamug”), light-hearted stories about drug addiction (“Can’t Come Down”/”Erica & Jamie”), and weighty raps about father figures and Black male incarceration (“Momma’s Brother”). Their 2011 LP When Pigs Fly has earned them praise from national media outlets including XXL and Pitchfork, which described the duo as “the rapper and the poet, the spawn of UGK and OutKast, combining street and cerebral.”
The A.Dd+ story began in 2000 when Memphis-born Paris moved into the same North Dallas apartment complex as Slim. After years of rhyming together, the pair made their partnership official in 2007, dubbing themselves A.Dd+, a play on their first names, as well as attention deficit disorder, the most ubiquitous of youth behavioral problems. “A.Dd+ is whatever you want it to be,” explains Slim, who is also known as “D.D.” “It has many meanings like A Dynamic Duo, Analog and Digital, Always Doing Dirt. The plus sign symbolizes us being beyond what others are on, always adding to the craft, never subtracting. It’s all about imagination and creativity.”
In 2009, Paris and Slim dropped their debut mixtape, Power of the Tongue. The release earned them local acclaim and a “Best Rap Act” nomination from the Dallas Observer. Just as crucially, it led to their partnership with producer Picnictyme (of Erykah Badu’s Cannabinoids crew), the group’s sonic sensei and unofficial third member.
Produced entirely by Picnictyme, their debut LP, When Pigs Fly, took listeners on a ride through the streets of Dallas and a journey through Paris and Slim’s own offbeat imagination. Upon its release in March of 2011, the Dallas Observer boldly proclaimed it as possibly “the best hip-hop album Dallas has ever released.” The project earned the crew three nods from the Dallas Observer Music Awards, including nominations for “Best Album,” “Best Rap Act,” and “Best Producer.” Renowned hip-hop journalist Jefferson Mao also featured the LP in his XXL“Chairman’s Choice” column, while Pitchfork Media included it in its list of Underrated Rap Releases of 2011.
“It’s overwhelming at times to be held in such high regard,” Paris says of the response to When Pigs Fly. “We approached the project as more of a mixtape with original production by Picnic, and it really took on a life of its own once it hit the public. Having it described as possibly the best rap album ever released in a city that has so much talent, is a great honor.”
Backed by their DJ Sober, (named Dallas’ Best DJ in the Dallas Observer’s “Best Of 2011′′), A.Dd+ delivered “blazing opening sets” for sold-out audiences to see Wu-Tang, Erykah Badu, Big K.R.I.T. and Devin the Dude in 2011. The duo kicked off 2012 touring Texas on Red Bull’s Skooled tour with Bun B, Mannie Fresh and Paul Wall, among others. Up next, the group will embark on its first North American tour, opening for Black Milk, with whom they collaborated on the track “Insomniac Dreaming” (No. 17 on rap blog Passionweiss.com’s 50 Best Hip-Hop Songs of 2011).
Perhaps most encouragingly, A.Dd+’s success has come by pushing forward a sound that is thoroughly representative of Dallas, while at the same time completely different from anything that has previously been heard from the city.
“We are not ‘backpack rappers’; we are not hipsters,” Paris says, of misconceptions about the group. “Some folks take our sense of expression the wrong way ’cause we dress a certain way, or ‘cause our artwork and videos have a certain aesthetic, or ‘cause we express our thoughts over all types of canvases. Once people give our music a full listen or see us perform, that perception usually changes. We don’t make ‘fad’ music. We make music from the soul, and we kill shit.” -
Next Stage: The Niceguys
Sometimes, preconceived notions can be good; the comfort of expectations met is often a welcomed feeling. For the more adventurous among us, though, the best part of defined expectations and preconceived notions is having them broken, shattered even, in a good way. Enter: The Niceguys, a four-member Houston-based group with Southern roots and musical sensibilities that stretch far beyond the city’s limits. A self-contained unit, The Niceguys comprises MC (Yves ‘Easy Yves Saint’ Ozoude), DJ (Lucien ‘DJ Candlestick’ Barton) and producers (Todd ‘Christolph’ Louis and Winfrey ‘Free’ Oribhabor).
“I’m originally from Queens, New York, but I relocated to Houston when I was 18,” says Yves Saint. “I began attending the University of Houston in 2003, and spent the next two years moving back and forth between Texas and New York before I finally stayed in Houston for good.” Similarly, while Free, Candlestick, and Christolph now call Houston home -- the four met at the University of Houston -- each hails from different towns within the state, and each bring their own musical flair to the group.
“The first song that I memorized top to bottom was Nas’ ‘The Message,’” says Yves, who, along with the rest of The Niceguys, cite influence from such artists as J Dilla and MF DOOM in the same sentence as Houston legend Scarface and their hometown Screw music. “After hearing the way J Dilla and Pimp C flipped soul samples,” says Free, “it made me want to do it.”
Despite garnering their first national attention in late 2009, the origins of the group actually date two years prior, when Yves, DJ Candlestick, Christolph, and Free came together in 2007, releasing their inaugural project, a mixtape titled Niceguys Finish Last Vol 1, taking a little over two years to perfect their chemistry before releasing 2009’s The Green Room, a highly lauded seven-song free EP backed by 2DopeBoyz.com and Fatlace. An eclectic combination of soulful, boom bap-era beats backing Yves’ nimble rhymes, the EP -- with tracks including the playful street wear giant-ode “Supreme Team” and “Not At All”, with its the horny bravado supporting Yves’ witty lyrics and bouncing flow -- served as rock-solid precursor to the group’s forthcoming debut LP, The Show.
“Its a double entendre,” Yves says of the album’s title. “The Show as in we are entertainers and that's what people expect and pay for, but also, it’s a metaphor for life; regardless of all the crap that goes on within the music and outside of the music, the show must go on.” With tracks like the organ-heavy “Mr. Perfect,” Yves Saint’s nimble, double-time flow on “It’s Like That,” and the vintage sound and feel of “On This Road,” The Show is both a logical extension of the sound heard on The Green Room but also a step up and clear progression for the young group. “The sound of the album is big,” says Christolph, smiling. “A large percentage of the songs are high-energy and fast paced, like you’re at a live show. It’s like being at a concert right next to those 10-foot speakers: loud and in your face. But in a good way, of course.”
Humble yet full of bravado and confidence -- the group, also heavily into fashion with their own burgeoning Nice Look line, released their own line of panties for female fans -- The Niceguys know they have a sound that defies what listeners might expect, and they also know that sound is going to pay dividends in the long run. “In five years I want to have at least three successful albums, tour as much as possible all over the world, and be an established and well respected hip-hop group,” says Free. Now that sounds nice.
Thursday 15th March 2012
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Next Stage: Mother Falcon
Mother Falcon is an orchestral band born in Austin, Texas who play a combination of classical and folk with the aesthetics and mentality associated with indie music. Led by Nick Gregg, the 22-member band is known for their layered, yet not overly-complex sound.
Their first release, Still Life, is a 5-song EP recorded in 2010. It introduced their unique blend of classical instrumentation with modern concepts. Alhambra, the follow up 12-song album, was recorded in the acoustic setting of a church and released in 2011.
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Next Stage: Craft Spells
In the cold and dreary winter of 2009, alone in his bedroom and hidden
from the darkness of the world outside Justin Paul Vallesteros had begun
working on something that would change his life forever. What began as a
couple notes played in experimentation soon transformed into vibrant
melodies that soon shook Vallesteros’ musical foundation to the core.
Guitar chords laced over pulse sating synth melodies and drum rhythms
was a departure from Justin’s previous work; he began to create the
dreamy nostalgic pop music that is Craft Spells. Justin is a California native
who now finds residence in the mid-size town of Stockton, the heart of
California. Craft Spells is the epitome of the recent uprising of the DIY
music scene. Coming from a place not known for its musical history or
impact on music culture it seemed destined for Craft Spells to stay as a
bedroom pop project with no final destination in sight. But soon the shear
amount of blog volume his work began to generate was unimaginable.
Sites like Weekly Tape Deck, Pasta Primavera, No Modest Bear and
Pitchfork’s Forkcast took notice and thus began the never ending
worldwide posting and re-posting on blog after blog of Craft Spells. The
sound is led by Justin’s blissful voice, backed behind beautiful guitar
melodies over heavenly synths, pop basslines and looped rhythms.
Captured Tracks has released 7” single for the song “Party Talk” and
the debut LP in Spring 2011 called Idle Labor. 2011 is
going to be a busy year now that Justin has set up a live band for future
touring. Keep a look out for tour dates in Europe and US come the new
year. In no time at all, Justin has been able to move out of Dave Brubeck
and Pavement’s shadow to create something his own which he shares
with the ever continuing admiration of the world.” -
Indie Labels Meet Up
Arists, labels, press, and brands can come together and network and discuss new opportunities during the Indie Label Meet Up. The Meet Up Pavilion provides a casual space for indie labels to operate at their own pace and for artists, press, and creatives to meet and discover potential new projects. You are invited to meet indie labels Thursday, March 15 from 1:30pm-2:30pm.
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Music & Fashion Meet Up
From the basement t-shirt line to the rapper-owned brands, fashion is intertwined with music from design to marketing to obsession. Tastemakers from many industries are present at SXSW, and fashion is no different. Bands’ style prevails in Austin this week, and brands reach across the city. This meet up is for artists, designers, stylists, tastemakers, bands, brands, marketers, and fashionistas to network in the hub of the conference before the weekend.
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