Athleisure Mag #58 Oct 2020 | The Drop with Steve Aoki

We're sure that we have all been listening to a lot more music as we have navigated these past few months as it's a way to transport ourselves to another level even when our environment may look way to familiar at this point. This month's cover of Athleisure Mag is entertainer, DJ, record producer, music executive and entrepreneur Steve Aoki. We've always been fans of the energy that he creates when he's at his shows, his music as well as his focus on putting good into the world with The AOKI FOUNDATION whose primary goal is supporting organizations in the brain science and research areas with a specific focus on regenerative medicine and brain preservation.

In addition to our virtual cover editorial shoot with Steve, we delved into his career, his label DIM MAK, his placement in the Smithsonian Museum, the importance of diversification while being true to the core of business, Neon Future series, Blue: The Color of Noise and his process in music and collaborative projects.

ATHLEISURE MAG: What was the moment when you realized that you wanted to be in the entertainment industry?

STEVE AOKI: Oh man entertainment is such a broad word and some of these answers are probably not going to be straight forward. I got into music when I was a teenager and then that became my whole life blood. Everything I did was involving music in every facet of life. It just became my lifestyle. From the friends I chose, to the food I ate – when I was growing up as a teenager – there was a very specific kind of music that I listened to and everyone was vegetarian. Pretty much everything down to the way that I dressed. It just became – it just became me so. So once I figured out what I wanted to devote my life to, that of course, changes over time. So from when I was a teenager, to college, to post college, young adult – my music style changed and the way that I interpreted music and played music changed as well.

So, I was in bands in the beginning and then I became a DJ and then at that point, in the early 2000’s, I actually started seeing that what I was doing with music was actually making a profit. It was making money. Because up until then, I never looked at music as a profitable enterprise. I never thought about it that way because you give so much to something, if you really care about, it’s not like you care about getting something back. What you get back is the love that it gives you, the feelings that it gives you, the community that it brings to you. As I started DJing, I started realizing that at that point I was DJing small clubs and festivals. That’s really when that major moment came when I was like, “wow I’m on a big stage and I need to not just play records and music” – which some of them were my own and a lot at that time, were of the culture. It then became, how do I engage with these people and entertain these people?

So then that term, “entertainment” came into the fold much later in my career. I would say that it came into the fold when I played Coachella the second time in 2009, not even the first time. It was that moment when I had the budget and I could build out the stage design and I could think about ideas that could present to different parts of my show like stage diving. These stage dives aren’t like a moment where you are methodical, you feel the moment, everyone’s ready for it and you jump into the crowd. There are moments when you think, this is going to engage with people, this is going to be entertaining. I bring my raft out and I start floating on the people, they haven’t seen that yet – that’s entertaining. There’s all these little things that I did with the people like the cakes. It’s an entertaining part of a Steve Aoki show. People remember for the rest of their lives and they’ll say, “40 years ago I saw a Steve Aoki show, I don’t remember the songs but he did cake my friend in the face and it was the best day of her life!" You know what I mean?

AM: Exactly yeah!

SA: I would say 2009 it all came together. Long answer for you!

AM: But that’s a great answer though. It’s all about a progression and just how things come together.

How would you define your musical style?

SA: My musical style is very fluid and of the moment and I like that. I like that like, it’s very much a gut and it’s based on feelings and it’s always going to change. It’s always going to change with my feelings and however way I feel about things or the moment on how I internalize that and not just consume, but how do I create that and how do I create from that?

I think that that’s something that I learned at a young age. When you are inspired or when you absorb something that makes you feel a certain way that it hasn’t made you feel before, like you know the best way for me to engage with that feeling is to create from it. It’s like anything, when you do it over and over again, you just get better at the process of doing it. You might not be great at it in terms of the output, but you get better at the process and that’s what’s more important than the output because the output is entirely subjective. Whether someone likes it or not is not what’s important. That’s another thing that I learned through this whole thing – whether people like my music or my output shouldn’t reflect why I did it and why I liked the process of it. I think about that question and it’s very complex. It’s not just I’m EDM or I’m this. Music is always going to change and it’s based on feelings. If you take down all the identities, all the titles and the genres – if there was no such thing as hip hop or rock or EDM and people were just like, “yo I just like the song.” When you hear a song for the first time and you’re listening to something that is totally different – you shouldn’t be limited to, “this is weird that I like it.” It shouldn’t make you feel weird. If it makes you feel really good, then that’s the whole point of it.

AM: Right and sometimes listening to the same artist and the same song at different points in your life, have a different connection and you can enjoy it. Our co-founder’s great uncle was tenor saxophonist, Joe Henderson and as a kid hearing him, she didn’t respect the fullness of his work.

SA: Yeah.

AM: And then in college, there was a whole other world of understanding that gave those songs meaning.

SA: Right right!

AM: You are someone who has worked with so many artists across so many different genres as a DJ, musician, producer, music exec – what is that process like for you when you’re thinking of collaborating with somebody?

SA: Yeah, when I’m collaborating with different artists, I think that one of the biggest lessons that I have learned is to just go in there and go in with a blank slate. A lot of people want you to come in there with all of your ammunition and basically all of your knowledge base. I’d rather go in there as a student. You know, they want to work with you and at this point in my career, they want to work with you too! I know what I can bring to the table, but it’s almost like when you watch an improv comedy skit, you never know what’s going to happen. Like, “hey someone say an action – running, someone say a sport – wrestling,” and then you kind of take those moments and you just be free on where it will go. That journey is really exciting to come from that place. Of course, your intuition and experience in terms of how and the way you process and supply chain your music and the way you work your music – how you’re going to work all of that – it’s innately going to come out. Sometimes you need the structure, but I prefer having the blank slate for the most part. Unless if you’re on a time crunch – a time crunch is a whole other story. Because then I’m like, “ok I just need to have the hook.” From the hook, I’m able to build you know – I can build that idea. I generally start from there if I can’t get into the studio with the artist. I just need a hook. I just need that part that gets stuck in my head and I will allow that to just linger in my head for a long time and then melodies start coming out in the studio and then I pick the best one. You stay on that melody for a day or two to make sure that it’s the right melody – because sometimes the first time you’ve heard it, it’s the best thing that you have ever heard and then you realize a day later, “oh my God, it’s awful.”

AM: Definitely! What’s that like when you have something that’s already existed. We love Michael Jackson – Thriller (Steve Aoki Midnight Hour Remix) and I also like Steve Aoki & Darren Criss - Crash Into Me cover of Dave Matthews Band. When people already know the songs, do you have a different approach when you’re deconstructing it to make it your own?

SA: Yeah, yeah exactly. When I do remixes of my own tracks – like in the case of Crash Into Me with Darren Criss (Glee, Hollywood, The Assassination of Gianni Versace), I can’t play the original at my own shows because it’s too mellow. When I’m playing an EDM show, I need that energy bursting at the seams and I need that drop to do exactly that. I need the dance floor to be bouncing. It’s all about Darren’s voice, Dave Matthews incredible lyrics, the melody and you combine that with a huge drop that’s signature to my sound and people will just lose their minds you know? You want to push purposeful.

AM: Are there genres that you've yet to do that you want to place the Aoki touch on?

SA: Yes. I mean there is no genre that can limit me. I just – I want to work with every genre and I really want to keep spanning the globe. That’s the other thing to, I travel so much and I’m so fortunate to be able to hear and know and learn about not just what’s happening in different parts of the world that are already popular, but also like what’s brewing. What’s brewing in South Africa, when I was out there, I was listening to some music and it was like, “yo this is the next wave in South Africa.” I want to know about it and I want to meet them. I want to hear the songs and I want to get the vibe, the flow and the dance culture that’s with it. You know, music brings people together so you have to understand what kind of dance moves that they are doing to it. How are they bringing it to their culture. Basically, I just want to keep expanding, keep exploring and it’s limitless. There’s always something new out there.

AM: How did you feel being the first EDM artist to be included in the Smithsonian? How impactful was it to see your gear housed in the same space as DJ Bob Casey’s from the 50's as well as Grand Masterflash’s turntables and now you’re literally being enshrined in such a historical place?

SA: Even when you say that outloud …

AM: It’s mindblowing.

SA: It’s totally wild you know? I remember when I went to the Smithsonian after they asked if we would be part of it. I met with them and did the interview there and walked through it and I felt like I was leaving my body and watching myself and I was like, “holy shit!” I just freaked out. I mean, it’s incredible you know – an incredible feeling. It’s the kind of thing that you’ll say, “wow in 60 years someone is going to say in the 2010’s there was an Asian DJ and there was a thing called EDM and this is what people did when they went out to festivals. And here is a typical show.” It was really cool to think that wow, 60 or 70 years later, someone is going to look at that and say, “that’s cool.” And you know, in that regard to, I’m proud that you know, I’m representing for Asians in that way too.

AM: As someone who is as busy as you are, who does travel so much, why is fitness, health and wellness so important to you?

SA: Oh God, it’s so crucial and integral. You have to train your body and mind to be able to run the marathon over and over again. You can’t just wake up – before you get out and run, you have to stretch. Before you do anything – I mean, I’m stretching constantly and that stretch is mindfulness. And as I do more mindfulness, actively, and I start learning more about myself – my mind, my body rhythms – it’s really fun. When you’re sitting there meditating, some people think, “oh it’s so boring.” When you get into that space, you get into where you’re finally supposed to be – it’s incredible to get into that space where nothing else really matters. That phone call, that schedule – all these things in life – comparing yourself to this person to that person – that thing – the anxieties of the world. If you can calm all of those things, it’s a really wonderful place to learn to get to. I think that it’s not just for someone like me that was running around like I was prior to COVID-19 like I did, I think it’s really helpful for everybody. For me especially, I need to absolutely make sure that I’m on the practice and I just love having it.

AM: Just looking at your portfolio, it’s so expansive between your music, Pizzaoki, your label DIM MAK as well as DIM MAK En Fuego, your clothing lines, companies that you have invested in like Liquid I.V. which we are huge fans of. How important was it for you that regardless of the vertical, to diversify your portfolio beyond your industry that you work in whether it’s creating ventures or investing?

SA: I mean, yeah, in life, I think that diversification is always a positive. Of course, you know it says a lot when you see someone that dives into their craft 110%. I’ve seen that in Japan especially, with artists that’s into their craft whether it’s even sushi chefs that spend their entire life just focusing on that and I love that – I love that. I’m such a fan of that and I admire and I respect that. It’s important that I have that too because my main core the whole of my operation is music. Music creation, music production and playing – playing my music out to the world. That has to be grounded. That has to be an anchor and platform and if I don’t have that, I can’t diversify. I think what the important lesson is here – is that diversification is always positive. You need to have your main business, whatever it is, whatever your main passion is – it has to be grounded so deeply into what you do and you have to be a craftsman in that space. Once you have that, then you can start building outward. You know, we only have one life, experience it. Experience as much as you can. All of these different things that were created in all of these different worlds is extremely fun for me. I enjoy it. I love it and if I didn’t love it, I wouldn’t be doing it. You have to love what you do and you have to love the process – not what is actually going to be in the end result. It’s always about the process.

AM: With so many artists, because of COVID-19 doing their performances virtually and I know that you’re known as a Techno Futurist Optimist with an interest in the intersectionality between humanity and technology, how do you think this digital reliance will impact the industry long term once we’re able to get back into a new normal.

SA: I think that in a hopeful sense that we will all get back to what we all love. You can’t deny live experiences and live shows. There is nothing that compares to that. A virtual show is like 1/10th of the experience and not a 100% of the experience. That’s why they were so big all around the world. We’re social creatures and beings. We love being around people and experiencing things together. We’re not a solo species. We need to feel energy and those feelings with other people. You can’t deny that and I think that hopefully, there will be a vaccine that will be administered around the world where we don’t have to worry about COVID deaths and COVID tragedies that are happening. But until then, the digital space is what I had to do. I think that all of us have had to take that because now there is an infrastructure being built around the digital space of experience and it’s evolving quite quickly. You know, I just played an Oculus show where you put on an Oculus headset and you’re talking to people from all around the world. As a fan watching the show, you can look to your right and your left and there’s another fan watching that same show from a different country. You can actually socially engage with them. The infrastructure is being built in such a way that there’s going to be more of a catch and they will be able to bring more of a better experience. I think that once we get back to IRL shows, there will still be that people will want to do that and be apart of that. I think that at least with COVID and people being in that business, it has created a space for it to grow. But, you can’t compare that when you’re talking about a live show.

AM: Last year, you published your memoir Blue: The Color of Noise, why did you want to write this and what was that process like for you?

SA: It took me about 6 years. It took me a long long time. It definitely wasn’t like, “ok, I’m going to get this done – I just need to do this.” It was an ongoing process and it started out being like the history of DIM MAK first. So I was like, DIM MAK is going to hit 20 years – we’re at almost 25 now. I thought I would do the history of DIM MAK, a 20 year book and I started writing stories about when I started DIM MAK back in ’96 when I was in college. I wrote about the struggles and all of the good stuff that you want to read – incredible stories. Then I realized, this was more about a memoir about my life and DIM MAK is a part of my life. It’s a big part of my life, but I felt that I should expand more and at that point, a few years after as I was touching on the history of my label, I started talking about the harder things that were very difficult to open up about like the death of my father (editors note: Hiroaki "Rocky" Aoki, a wrestler and restaurateur who founded the restaurant chain Benihana), the death of some of my friends that made a huge impact on my life and then as I got deeper, I started seeing a therapist that helped me to actually bring out some more of my introspective feelings that had to be kind of unearthed. You know, it was therapeutic to be able to write the book and a lot of that went into it. I also – you know when a lot of people think about the history of Steve Aoki, they say, “oh yeah, he’s the guy that throws cakes at people at shows.” Well I just wanted people to know that there is a lot more then just that.

AM: You dropped Neon Future IV this spring which I know is part of the Neon Future series that you began in 2015, tell us about the series in general and what can you share about the 27 track album that you just dropped?

SA: Neon Future is a concept that I came up with and is exactly what you said earlier. I really look at the future as an optimist and I look at technology with an optimist lens. I look at tech in a way that can help us and enhance us to be more of a creative or imaginative species. At the end of the day, we want to save ourselves and saving ourselves will be saving our planet as well. With tech, we can advance that and become more of an intelligent species. That’s why Neon Future is a colorful future. And so really making sure that for me personally, the musical concept, I wanted to educate it by having scientists on the album. So it’s not just about having a collection of songs for each album, but to really validate my point, I reached out to scientists that were very difficult to get a hold of. Some of the people were harder to get a hold of than some of the biggest talents that I have worked with. I had to do a lot of explaining, fly and meet people and do a lot of work in that regard because I care so much about that space and I also love bridging the science community and the electronic dance music community in a way that hasn’t been done before.

Like Ray Kurzweil to Yuval Harari to J.J. Abrams to Bill Nye and so forth and so forth. It started off as one album and the second album was going and then I said, you know what, it’s too good to end. Then the third and then I built the studio between the second and the third and I call it Neon Future Cave and then between the third and the fourth album, I started creating the comic Neon Future with Tom Bilyeu because Neon Future really deserves to be graphically laid out with its storyline. Which presents a world that we can imagine and with every comic book story, you need to have conflict so we had to make it like a dystopia that we want to make it like a utopia instead of the opposite. It just kept on growing and it had a mind of it’s own and it became AI! It became its own thing. It’s almost funny that this project almost became it’s own powerhouse that I couldn’t even stop which is kind of cool. We’ll see. Because of my next project, this puts Neon Future IV as the last of the series so far. We’ll see if it continues as I have a few other concepts that I want to develop. My main baby is Neon Future that’s for sure.

IG @SteveAoki

PHOTOGRAPHY CREDITS

Athleisure Mag's virtual cover shoot was shot by Co-Founder + Celebrity Photographer Paul Farkas. Throughout this shoot, Paul used an iPhone XR, iPad Air 2, Facetime and Clos.

STYLE & GROOMING CREDITS

Athleisure Mag's Celeb Fashion Stylist, Co-Founder/Creative + Style Director Kimmie Smith and Groomer Sheena Zargari share what they used to create this fall menswear style editorial of Out & About Style, WFH and Fitness.

LOOK I | OUT & ABOUT STYLE

FRONT/BACK COVER PG 26 - 37 | DIM MAK COLLECTION X DIAMOND SUPPLY CO Denim Jacket | SIKSILK X STEVE AOKI S/S Oversized Essential Tee + Loose Fit Riot Denim | LACOSTE Storm 96 Lo Sneakers |

LOOK II | WFH

PG 22 - 25 | SIKSILK X STEVE AOKI Oversized Hoodie + Relaxed Short | LACOSTE Storm 96 Lo Textile Sneakers |

LOOK III | FITNESS PG 16 -21 | ALPHA INDUSTRIES Apollo II Hoodie | DIM MAK COLLECTION Leggings | DECKERS X LAB S/S K-ST 21 Sneakers |

IG @PVFarkas

@Shes.Kimmie

@Sheena_Zar

Hear DJ/Producer Steve Aoki on our show, #TRIBEGOALS - which is a part of Athleisure Studio, our multimedia companion podcast network! Subscribe to be notified when the episode drops. Listen on iHeartRadio, Spotify, Apple Podcasts, Amazon Music, Google Podcasts or wherever you enjoy your podcasts.