soul manufacturing corporation


Dancetronauts: 21st Century Kiss of the Media

Jennifer Brigitte

Transmedia storytelling is the new frontier in an entertainment complex that is constantly in the state of influx. Not a day goes by in which the minds of the populous alternate in various states of fickle decisions. The trends that dominate the airwaves are predetermined  by the consensus of the masses. In a world in which artistic minds are cajoled to render their souls to the manufacturers in corporate apparel, it is a testament to those few in the lucky bunch that survive the grinder in order to retain creative licensing and control of their brand and most of all, their legacy.

Dancetronauts combines artistic achievements in the audio/visual worlds of technology, performance art,  and music. Their unparalleled flair for the grandiose and exuberant magnetism that pulls in even the most cynical in a generation dominated by the superficial brands that caters to style over substance attribute. They are the pioneers that escape the prism of two-dimensional storytelling with a state-of-the-art hydraulic mobile stage that performs as both a gypsy art caravan transporting audiences to an electric on the road party reminiscent to the sixties revolutionary events orchestrated by the Beat Generations’ heroes Ginsberg, Kerouac, Cassady, and Kesey as they traveled alongside The Grateful Dead for a charming Electric Kool-Aid Acid trip. In fact, in the underbelly of the reinvented counterculture movement proceeding to take over our consciousness, Dancetronauts stand out in the pack as the new musical claimants to the obscene politically incorrect crowd enthralled by the fusion of the telematic arts and culture with the technological engineering prowess symbiotic with the feats coming out of the old school gentlemen over at Silicon Valley.

What defines Dancetronauts is that they are not confined by the spaces between them. They are not just an EDM producing enigmatic power team. They are technicians, engineers, musicians,  promoters, and everything in between. Their ace-in-a-hole is the group’s involvement with The Confluence, the powerful public relations juggernaut that combines its love for the aesthetics and combines it with a distribution channel that connects to an endless stream of movers and shakers. Truth be told, many of the Dancetronauts are members of The Confluence Group and together with their mission to make a dent in the world, the influential Dancetronauts are ready to make a grander contribution to the world’s conscious thinking. Their cultivation of their brand is treated with white gloves. Where many mainstream artists fail to retain their independence, Dancetronauts solidify their brand by becoming the developers of their product. Their unprecedented dominance in the media, backed by their development and envisioned branding of other metropolitan brands give this group a chance to seep through every medium seamlessly with one golden thread. Their futures are as bright as the LED neon lights on the Strip Ship Caravan.

But in order to propel any type of brand to the to the apex of their career, one must be graced with a manager that can kick it with the best of them and march to sounds drums and fireworks. This particular person is the selfless crusader that with zealous enthusiasm studies the idiosyncrasies that compose the polar trends that generate the capital. The group’s answer was in the form of Harry Hsu, a Chinese American genius promoter born in Burbank, California who despite entering the scene in March 2014, has become the mouthpiece for the Strip Ship cruisers.

At the Influential Network’s private Electronic Daisy Carnival party, Hsu proudly wears the Dancetronauts uniform (a white astronaut jumpsuit). The highly intelligent observer gallantly escorted the team around the palatial party house. Aside from his work with Dancetronauts, Hsu is an ardent advocate of feminism and highlights his philosophy for an improved society between men and women, especially in the token industries such as the entertainment and technology where a matriarchal influence is quickly suppressed by the advent of patriarchal dominance. He would like to see more opportunities open for women in the male dominant world. Hsu then recalls the night he became a Dancetronaut.

In March, Hsu coordinated his own event in Summer Fest in LA, a rave show, so he would be able to raise his own funds. The event’s large gathering caught the eye of a very important supporter. In late July, Hsu will be co-managing Summerfest in Venice Beach.

“An important supporter, connected to Dancetronauts, was present in the event. He asked if I wanted to be in a team called Dancetronauts, and later after thinking about it I said yes. This all happened one week after March of 2014.”

It is not hard to see why the band of astro-dancers sought after the masterful Hsu. The mediating prodigy with an 154 genius IQ taught himself  advance music theory in ten months.

“I learned music in general…. how to to do scales, how to compose, arrange, music theory, the dubstep, move it girl, electro, techno composition…”

What Dancetronauts ultimately needs is a simulacra of their brand and individuality in order to massively reproduce a technically limitless imitation of a fantastical reality that combines the engineering team of humans designed to recreate the perfect performance art feat to ever be achieved.  Much like the Disney World resorts and theme parks around the world, Dancetronauts have the ability to reproduce their likeness under many genres in order to render any falsehood to a draw.

At The Influential Network Party in Las Vegas, Dancetronauts returned to their patron Devil’s playground with their most ambitious project yet. They unveiled their 70 ft performing rendered mobile art car stage. Their first incarnation debuted at Burning Man two years ago. This time around, the Strip Ship has 80,000 watts of sound and the world-debut of the ProVision state of the art LED displays.

The story of how they became the Dancetronauts was one of legends. The beautiful disaster became their ace to step of the vertigo of what is normal and extend their talents across all borders of science, music, architectural designer, and multiple extensions of the technology and engineering.

“Phil and Jeff organized a small event for the small bar, hoping for 100 max. Well on the day of the event that small bar was FULL, crowded with people, people were even standing outside, they ran out of alcohol TWICE. Dancetronauts had done a small set and they knew people had come to see them perform. That bar owner made so much money that night. After the event, the guys wanted some percentage (not a lot) for making this possible for him, the bar owner gave them the cold shoulder, so the guys brush it off and left. 2 weeks later that small bar got shut down.”

To most bands, this experience would leave them with a bitter taste in their mouths and become burned out but not Dancetronauts.

“That’s when the guys whom were engineers started to build their first mobile gigantic station. What we know now as their art vehicle  The Strip Ship. They build this amazing piece of moving art in Phil Plastina and his brother James Plastina drive-way.”

The genius behind the mobile art extravaganza is Santa Cruz based Phil Plastina, a sound engineering and speaker design specialist who spent much of his career creating custom speakers for musicians like LL Cool J, Public Enemy, and Gangstar. After moving to California in 1996 and moving through a multitude of design work, Phil set his sights on creating the cleanest sounding sound-systems on earth. His lifetime of work has culminated at the one of a kind “Bass Station” system, which continues to shatter previous conceptions within the world of live sound.

With the feverish push to the apex of their targeted industries, their reverential brand becomes a wickedly powerful simulacrum to the second power because the reality of their brand suspends the belief that the copy does not exist because the fantasy has usurped itself as the iconographic replacement of the reality. The art of a packaged artist is similar to the mass production of an unprecedented pop culture iconic image imprinted in the landscape of Americana. In the late 1950’s, advertisement companies embraced the new wave of modern art with the birth of America Pop Art. Andy Warhol’s motto was simple: “In the future everybody will be famous for fifteen minutes.”

“Dancetronauts are not just performers. They compose their own production with a unique selection of music, they’re engineers everything was made possible by Phil and his team of engineers. Dancetronauts interact with their audience a lot. They get out of their way to appear on the crowd. Our Dancetrohotties will also go to the audience, our gogo dancers whom are beautiful inside as they are out, teaching them choreography to go along with the music.

Dancetronauts help the audience to have FUN, if we see someone that’s really good we invite them on stage with us and they’re able to show off for a good while. We see everyone as a star once we are on stage. Dancetronauts have been humble right from the start.”

Dancetronauts surrounds us with images ready to be consumed, therefore, a brand worthy of an elite status needs to bring its A-Game when it deals with maximum exposure. In an era in which technology is constantly changing and an entertainment medium that constantly craves for the next best thing, a new product has to have that Rudolph Valentino or Clara Bow “IT” factor to allow the brand pop amongst the rest of the heap.

When June Mathis, one of the first female Hollywood mega producers, discovered a young Rudolph Valentino, she coined the phrase “It,” describing it as the special inexplicable quality that makes that one person special and being a part of something special makes you special, right?

Dancetronauts have an EP out on iTunes with four fully produced songs ready for mass consumption. As soon as the thunderbolt of lightning that is the Strip Ship touring experience wanes down, the influential network of astro-stars have set their sights to expand their universal catalog.

“We are planning on keeping everything as it is but we do want to expand the experience of our performance to our audience. I wouldn’t say mainstream but I do see it along side with our larger profile. We do have 4 singles out in iTunes, just small releases of EP. All the songs have really great production Russell and the team want to start working on the first album.”

Everything from the past is retroactively returning to the present and if anything was learned from the modernity of Pop Art and its master of ceremonies, Andy Warhol, it is that the product labels and logos can make head waves into the fashion of art and memorabilia. Think Andy Warhol’s image of the Campbell’s Tomato Soup Can. With Dancetronauts, is not about the capital in the bank but the impact on the mass populace that extends from their fantastical Strip Ship extravaganza to the simulacrum they build beyond the human lifespan.