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Streets are like playgrounds – especially for adults!

Talking to a good-looking stranger on the street seems like a no-go to you? You would be surprised how smoothly and funny it can work out. Jean-Baptiste Trannoy aka. Blusher, an Amsterdam-based Dating Coach, teaches the skills of seduction to inexperienced men and women in individual coaching sessions, bootcamps and seminars since the launch of his company in 2008. He just celebrated the release of his first DvD, which shows hidden camera real-time pick-ups in the streets of Paris, feedback from the girls and detailed explanations. So it was about time that Jean-Baptiste’s extraordinary life and the experiences that taught him his seduction skills hog the limelight.

By Marlene Werner

Damply vibrating air surrounds us, filled with chatter of the clientele in a dimly lit, wooden café inAmsterdam’s swanky Museumsplein area. Night starts to fall while a thunderstorm prefigures at the outskirts of the city by periodical lightings illuminating the little room. I am facing a tall, maroon-haired guy, with features reminiscent of a young Yves Montand, exuding a genuine sense of confidence through his pleasing eloquence in words and gestures and simple, but elegant attire. His overall black outfit is broken by a pair of blood-red leather boots. His name is Jean-Baptiste Trannoy, a French-man and declared womanizer. How one knows that? He made it his profession to teach inexperienced men and women the art of seduction.

Before starting our conversation he gets a drink at the counter – a Duvel – while flirting subtly with the middle-aged, blonde bar-lady who seems smitten by her vis-à-vis, whereas I am impressed by his display of ease and naturalness.  He is living up to his alias “Blusher” right in front of me, as he exits the situation with leaving a hint of red on her cheeks.

How he got to the point to be comfortable around women – a characteristic that makes the average, introverted, on prepackaged opening lines-reliant guy green with envy – unfolds in the following hours of conversation.

“One of the first groundbreaking events in the development of becoming Blusher was a trip to Germanywhen I was 15 years old. It was a warm day, and I was standing near the shore in Rostock, just at the intersection of the normal beach and the FKK-area, which I didn’t know at that time, so I was like: ‘Whoa, what is happening here?’ I was listening to Great White or some other hard rock band and I made a promise to myself. It was a very teenage hormone-driven idea: ‘my dream in life would be to be able sleep with any girl I want.’ And to become a rock star,” he says, smirking like being 15 again.

The years to come were filled with adventurous conquests and some painful embarrassments. After leaving his parents at age 17 to live and study inParis, the quest to better social skills seriously began. “I learned what not to do,” he says. “When I lived on my own, I started to be able to get girls. I practiced every day for about 4 years, and that mostly in the streets, because bars and clubs were just too expensive inParis. The street is for free, you go out and see a girl you like, and you go and talk to her. Considering what I looked like at that time, it was kind of brave: long hair, really, really skinny, 17-years-old, wearing Doc Martens and a hard rock shirt. What made me think that it was possible? Several encounters with women during the summer that really boosted my confidence. In the first place, I would have thought that they were out of my league for about the next couple of years.”

In that sense Blusher is a prime example of learning by doing. Still, he describes his initial skills as a “limited tool-box”, since it was never ensured that what he had done one time would work out again. “I didn’t really know what exactly worked and what not. I did a little bit of everything every time again, hoping it would work. I was like someone who knew 3 chords, I could play the blues really well, like a simple harmonic structure. These 3 chords were: eye-contact, getting a little tipsy and having enough social intelligence for being a good conversationalist at a table with a lot of girls. Basically, there was still a lot to learn.” According to Blusher, what was lacking was structured reflection about what exactly was going on in these social interactions with girls and which patterns led to success.

Upon meeting one of his best friends and wingman ever at a business school inRouen, a mutual passion for seducing women made the two young men inquire further into what exactly it was that made them more successful than their peers. “We were partners in crime; the following years were really like a quantum leap for both of us. He had game and I had game, and with this I don’t refer to how many girls we got into bed, but how much fun we had doing it and how much we liked talking about it. For the first time, I had an actual dialogue about this. When you don’t talk about what you are doing, you don’t learn,” he says, subtly implying the usefulness of seduction coaching.

Another eye-opening experience was his involvement in the Rocky Horror Picture Show replication shows inParis. After a casual visit of the show because of personal interest, he started chatting with the cast and was asked whether he wanted to join. He did not know the lyrics too well, but was on stage the next weekend, impersonating Frank N. Furter, the extravagant transgender main-character with a weirdly intoxicating sex appeal. “I goofed around with the audience, kissed girls on the backseats; it definitely makes you come out of your shell impersonating this sex animal. It kind of blew my mind, suddenly I had groupies. What it made me realize is that women are sexual beings too, they have this inner sl** and want to have a good time because it’s good fun. That was kind of a big discovery for me at that time.”

During this time he did not look for long-term relationships, but did not feel guilty about it anymore as was the case before. “I learned that it’s not always meant for forever. That does not mean that the two of you cannot make it a hell of a good time.” Upon asking whether these ideas had been mutual for him and the girls involved he responds: “What made the difference is that I became a lot clearer about my intentions from the beginning, that is not playing the card of acting like looking for a long-term relationship and not promising anything. This is what a lot of guys are doing; thinking women need to be convinced into having sex. What I learned is that seduction is about co-creation not persuasion. It’s about two people being drawn to each other, let it happen, it’s beautiful. You are building something together – even if just for one night.” For the first time he could square his lifestyle with his conscience, after the discovery of the inner sl** paired with honesty about his intentions.

The refinement period of his skills occurred during an unintentionally prolonged summer vacation on an island inGreecewhen he was around 26 years old and had just moved toAmsterdam. “I was stranded. When I tried to get money from the ATM, it didn’t work and I was wondering how I had managed to spend all my money, not realizing that the ATM was broken.” As he did not just try to retrieve money a few days later, he had to come up with another way of financing his ticket to get back home. “First, I washed dishes in a bar, and then they put me in front of the bar to get clients in for free shots and so on, to populate the bar. And then that’s when I used and refined my skills. This time was like a teaser of what I am doing now.”

At that time Jean-Baptiste was employed as a business analyst at a larger company inAmsterdam, according to him, a job that “crushed his soul”. While working for the bar in Greece, making a mere €20 aday and getting a warm meal every night, he realized that one can love one’s job, that something else existed next to making a living as an accountant.

Something he learned from luring pretty tourists into bars was that an approach, to be successful, should be personalized. Most of his colleagues were putting on the same old, lame show of screaming like an old market-wife, while JB was observing passers-by and targeting particular groups of girls with personalized comments about their attire or the situation. “I would just talk to them normally without showing any commercial intent. If I asked them if they wanted to join me for a free shot, all of them did.” Eventually, his boss even sent him to teach his method to the other guys.

The final milestone in the Blusher transformation was the discovery of a French website and forum dedicated to the topic of seduction. “I was bored at work and just typed into google what I was going to do that night ‘draguer des filles – picking up girls’ and I found this forum where guys were exchanging tips about how to pick up girls. While browsing through some of the posts, I noticed that they were exactly talking about what I was doing practically every night.” JB started posting regularly for the website, making himself a little VIP due to the success of his field reports, which described his weekly adventures. “Until that point I had a mosaic of experiences that I could finally make consistent, put in boxes, and thereby see what I did right. It made me going from a leap of faith every time I talked to a girl to being self-confident about it. I guess, what I am doing now is a mix of the two,” he tells me.

After a short period of thought-gathering while smoking a cigarette outside and playing with a slightly overweight orange tiger-cat that seems to belong to the bar, Jean-Baptiste adds some final thoughts: “What is most important is you have to want it. You have to have this boiling desire in your stomach that makes you want to conquest the world.”

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Categories: People

Social entrepreneur strives for World Peace

By Gabrielle Davelaar

Thriving for world peace is a worldwide phenomena. We even have a Nobel Prize for people who play an important role in achieving peace in various parts of the world. But what if peace is created by common people, what happens then?

Ilco van der Linde, social entrepreneur and creator of Bevrijdingspop and Dance4Life, says that peace can be achieved if everyone would start his own peace building initiative to solve conflicts.

Van der Linde brought “MasterPeace” into life to trigger people to work on their own peace project.

“Peace lies in the hands of common people, in which dialogue in essential in creating heart to heart connections,” he says,” but you have to be realistic, it is not the love, peace and happiness approach, contact is the most important factor”.

Van der Linde still remembers the moment when he decided to found the new international peace initiative MasterPeace.

“I’ve been travelling through 51 countries, I have seen so much horror. The world is full of conflicts, and most of them are not shown in the media nor on television at home,” Van der Linde says. “We are all busy with ‘sustainability’, however most of those people don’t even know whether they will be there next week. At that moment I thought; it is ridiculous that there is not one big international peace event. That was when I created the idea for MasterPeace.”

Together with his partner from Dance4Life, van der Linde started working on the initiative.

On 21 September 2011, the initiative officially started and with great success. Already seven large organizations joined to support the idea.

After putting his luggage on another spot on the request of the waiter and before he is actually sitting on a chair he starts to tell enthusiastically about his busy schedule and the great opportunities that arise.

“TedX youth is interested to use Masterpeace as a central theme for the next edition, which is a great opportunity where people can meet each other and start the dialogue to find the common grounds instead of the differences,” he says.

Van der Linde believes that peace is in the hands of ordinary people and that everyone is able to create an event that suits his or her own creativity.

As he says: “co-creation is so important, it allows people to develop their own idea in all the freedom they wish. The only rule that we have is that it should not insulting any other person”.

Although the project has just started some really inspiring projects have already begun. He starts telling with full passion about a young man in Uganda who was a child soldier and lost his brother and family in the past because of the wars inside the country. The young man started his own peace project to show that it is important not to be led by the past but by the future.

Another peace project Van der Linde is inspired by is the story of two tribes in Sierra Leone: “ They decided that they should talk with each other, to find common grounds and organised their own peace project. On 21st of September, the day of peace, the two played a football match against each other,” he says.

Unfortunately, there is also a downside on organizing these big projects. He says “it is not only cool and awesome, it is also hard work and a long process you have to go through. I still think it is difficult when I need to leave my three daughters at home once a month when I need to travel for work”.

“However, it is also rewarding and optimism together with clear communication brings you so far, I’m now working 32 years in building up organizations for the better cause, the sensation you get is amazing. Giving is the essence of living,” says a smiling van der Linde.

Categories: People

Passengers forced to pay fuel for flight

By Linda Meijvis & Tom Schoonen

AMSTERDAM – Passengers who flew with Comtel Air were forced to pay £20,000 fuel costs to continue their flight.

“We were escorted to the cash point to take money out,” said passenger Ranbir Dehal, “They said there was a deficit of nearly 24,000 Euros and they gave us receipts.”

Over 180 passengers experienced an unexpected delay in Vienna after flight authorities  announced they had run out of money for fuel.

According to BBC, a Comtel Air spokesman denied the incident, while AP claimed that a spokesman said that it shouldn’t have happened.

“I have heard what happened, it shouldn’t have happened, and I will investigate why it happened,” said Comtel Air’s director of passenger services Bhunpinder Kandra.

If the passengers on the flight from Amritsar, India, to Birmingham wouldn’t pay, they and their luggage would be removed from the aircraft, passengers said.

Categories: Home, People

Musical Expressionist From Amsterdam Aiming For The Stars

By Sefanja Saino

AMSTERDAM –  There is no longer need to look in space anymore to find an extra terrestrial creature, because a very creative one has been living in Amsterdam for 24 years already.

Angelo Harris is known to be a creative centipede for doing many things at once. If he would have a website with the section ‘About’, said Harris, he would describe himself as “a slightly eccentric creative alien who got involved into music at a young age.”

He has been involved with music production, dancing, acting and photography. But he chose the art of singing to become his main priority after he performed at a school event at the Trouw building in 2010.

His school organized a contest in which 22 artists auditioned in front of a professional jury. He was one of the eight chosen to perform and closed of the show. Jury members Berget Lewis, singer Mavis and rapper Brainpower were very much impressed, and the latter even gave him a compliment in person.

“The day of my audition I made a conscious decision not to bring any dancers or a band. I wanted to show them what I could accomplish on stage by myself. And that’s why I got this opportunity handed to me,” says Harris.

At a young age already he distinguished himself from the mainstream by not choosing to play soccer like all regular boys did at elementary school. Instead he chose to take piano and violin lessons.

“I’m a born entertainer,” says Harris who was brought up in a creative family with a singing mother, guitar playing father and a brother who played drums. Soon after his sixth birthday he joined a children’s choir.

Then, around the age of 11 he took a break from music and started acting at the Meervaart theatre. “I really enjoyed performing as the main character of a piece,” said Harris.

After a while he switched his interest to dancing and collaborated with ‘Don’t Hit Mama’ and ‘Theatergroep Amsterdam’. He performed at the Carré, Stadsschouwburg and the Krakeling, but decided it was not really his thing. He quit all his activities outside school and bought a program to produce music.

Being a singer, he said, he can write his own music, lyrics and also design his own choreography, thus still be involved with dancing. “Whenever people ask me whether I still dance I tell them ‘Yes, but only during singing gigs!’,” said the artist who also designs his own attire for performances.

He concentrated his attention to singing and soon after performing at Panama and won his school’s contest. This memorable event in his musical career served as an eye opener to him to continue in this business.

“At first I was rather modest concerning my music, but I’ve only received positive reactions,” said Harris. Lange Frans, Brutus and members of the band Zuco 103 gave him compliments after hearing his music.

Harris is very confident about his future career and would one day like to follow the footsteps of artists Pharrell Williams and Timbaland. “One of my former mentors once said I should view the scene as being a funnel. Some people don’t pass through its small hole, but I’m getting there,” he said.

Although he is aiming for the stars, he emphasizes not to let his head get too big. Fame is just an added bonus for him. “It would be nice to share my music at an international level, of course, but that’s not my number one priority. A huge house and ten cars? Simply unnecessary. I’ll carry my own umbrella thank you very much.”

Harris is very busy working on a solid basis for his musical career. “I’m currently working on a project by myself named The Chapters. I see it as being a book, consisting of small pieces of a capella or beat of 2 minutes long. And every now and then I post something new on the corresponding website,” said Harris who also posts covers of classic songs online with his Soundcloud account.

He says he has no intentions to perform covers, but wanted to do something creative with music he used to listen to when he was younger. “For instance, I mixed a few Linkin Park songs with theme music from The legend of Zelda game. My website is also under construction and I can’t wait for it to go live.”

For now, Harris is looking forward to graduate his course Music Production in 2012, with a final presentation at the Winston Kingdom in Amsterdam. Harris said, “I’m mostly excited for graduation, because that means I’ll have more time to spend on music! Get ready to lose sleep!”

Categories: Home, People

A Dangerous Moment to Retire for Lejo Schenk

By Stella Toonen

Two weeks ago the Dutch government announced it is going to put a halt to the subsidies for the Tropenmuseum in Amsterdam. It is a decision with much impact, however, life goes on and director of the museum Lejo Schenk (62) will still be retiring in two months. “I feel much remorse to leave my team at this crucial moment though” he says.

Coming from the communication sector, Schenk was not yet a familiar face in the world of museums when he started as director of the Tropenmuseum in 2000. He had always been working as a journalist, editor or anchorman for various news programmes, and even directed a 50 minute documentary on euthanasia. In 1993 he became director of the Interkerkelijke Omroep Nederland (IKON), but when he turned 51 he decided to make a career-swap. “I felt I had seen and done everything in the world of communication. I had created concepts and productions, I had done programming and I experienced how it was to be responsible for a large media corporation. I didn’t want to do that for another ten years, I wanted something new.”

He then applied for the vacancy of director of the Tropenmuseum, and saw that the two disciplines were actually much alike. “Both journalists and exhibition designers have to present information in a way that is most attractive for their audience, because they want to get their message across.” And looking back at the last eleven years now, he is quite satisfied about his museum. “The number of visitors has grown, the collections have become bigger, and we have enriched the lives of a broad range of people by teaching them about non-Western cultures. That was exactly what we wanted to achieve.”

However, the last months of his career currently seem to cast a shadow over his satisfaction. “When I decided to retire at the end of this year, I knew some budget cuts were coming, but the management team and I were convinced that we would be able to handle them. That the government withdrew all subsidies was unexpected.” At the moment the museum is still discussing alternative sponsoring with the government, but if that does not provide a solution it might start taking legal steps. At the same time it is looking for other sources of income and for possible cooperation with other cultural institutions. An additional solution is to focus on the tourist audience, as now most of the visitors live in the Netherlands.

“Perhaps the most difficult thing here in the museum at this moment is dealing with the anger of the staff. It is great to know that they feel responsible for their museum, but they need to put off their protest until it is clear what the final decision of the government will be. Some people even started a petition to help us, but for now we can’t do anything with that.” For the Tropenmuseum these are unstable times, in which no one exactly knows what the future will be like.

It has been suggested in the media that cutting the budget of the cultural industry would create a more commercial supply of art, which would devalue the quality of this art. Schenk does not agree. “It is true that many museums try to create blockbuster exhibitions, and in some way it is good to adapt to the wishes of the audience, but we have come up with a more balanced strategy. In our exhibitions we combine the ethnographical pieces we want to show with contemporary art such as design or photography.” In that way he thinks the museum does not let down the audience interested in ethnography, but it also attracts new people.

Another critical question has been whether we should actually sponsor museums at all. If they turn out to not be popular enough to commercially stand on their own, why would we then keep on investing in them? “I suppose we are indeed not as essential as for instance a hospital” Schenk admits. “But we do add to the wellbeing of society. We have an educative function and we teach children and adults about other cultures, but also about their own identity and the norms and values they have to deal with. In the end we’re just a product of an educated civilization. And practically, we’re a safe place to store art.” He does not think a museum can ever stand on its own; no museum in Amsterdam does. “It is already quite an achievement if the museum earns around thirty percent of its costs back.”

While Schenk’s possible successors are still in the application procedure, the situation required him to adjust the criteria for the job several times. His regard to the future has also changed. “I was looking forward to January, when I would finally have time to write, study, do some sports, collect more ceramics and to revive my social life, but I still feel remorseful to leave my successor with the assignment to solve this disaster as a first task.” However, Schenk will not be completely leaving the cultural industry; he will still be active in several small boards and he is always willing to give advice to people in need. “If I know that the new director makes use of the full potential of the staff and does not feel threatened by change, I will start to enjoy the calmness of my retirement and the lack of any responsibilities in business.”

On November 2nd the Tropenmuseum presents the new exhibition Death Matters and on January 1st Schenk will start his retirement.

 

Profile: The Secret Life of a Street Artist

Profile: The Secret Life of a Street Artist

By Maayan Arad

Late at night, when the whole city of Amsterdam is deeply asleep, it is time for him to start working. He goes out silently, armed with only spray paint and stencils, or some decorations made it advance and fills the dark streets with color and original images, straight from his imagination.

This is the story of a graffiti artist. Joe (pseudonym name) is a young man who decided to stay anonymous to protect his identity and allow him to continue to decorate the city. “The night is the best time to do that,” he tells me with a shy smile, while we are sitting in my dark apartment with only candle light reflecting on his face and a cup of tea, “it’s quiet and you won’t get arrested that easily,” he assures me.

He is calm and self-confident. He responds to my questions in a causal way evidently enjoying sharing his opinions about his work and the role of street-art in our society. He wears a gray hoodie and casual jeans and appears relaxed – not too fashionable but definitely a person who respects himself and others around him. No stain of paint appears on his cloths or body.

As a kid, while growing up in a small village in a neighboring country, he started to experiment with graffiti. At that time, street-art was very different from what it is today in Amsterdam, he says, “We would just make ‘throw-ups’ in random places”. Those are words written quickly and normally refer to the person who wrote it. “I would normally write the word ‘YOZ’ and then go away quickly. You have a couple of ‘throw-ups’ that you always do. You just know it by heart so you don’t need a stencil” he ends his train of thoughts.

Joe explains that he would skateboard a lot with his friends, “It just goes well together.” Since then a lot has changed and his artistic interests developed. It is not about just writing a name but has a bigger purpose for him. “When I started again I didn’t do graffiti so much anymore but I tried to experiment with different stuff like stencils or I would make stuff before I put it on the street.” He began expressing himself on the deeper level and the images he would draw changed, “you can also make other people question, what is that? It’s not just for you anymore but also for other people.”

After he moved to Amsterdam two years ago to study, Joe hasn’t lost his love for street art. He experiments with different types of drawing and wants to keep trying different things. Joe’s work depends on the moment, on his feeling, inspiration and the ideas that go through his head. “It all changes all the time” he says about his paintings. He assured me confidently that inspiration is everywhere and gave the example of the cup of tea that could be used as an anti-capitalism metaphor in one of his paintings. Inspiration from regular objects doesn’t seem to satisfy him though. He hurried and quoted Picasso, “good artists copy, great artists steal.”

He said that there is something that is common for many street-artists and elaborated, “There’s no money involved in street art and at least shouldn’t be. That makes it an unspoiled art form. It’s free for all. People can do whatever they want because it is not a commodity”. After thinking about this for a second he continues, “But there is the bad side that people try to sell street-art, it is entering a dangerous zone.” I became worried and asked him what the future holds for street art. “There are so many people out there that don’t care about the commodification but do it for the sake of making art.”

“You have to find a way to be really detailed but also kind of quick; this is a kind of a challenge,” he tells me about the challenges he faces as an unknown and anonymous artist. Even when he was young, and made ‘throw-ups’ on the walls in his village, this secrecy played an important role – it’s just a part of the life of a street artist like Joe.

What is nice about it as well, Joe says, is that he feels he is a part of an active community of artists. Even if he does not work with other artists directly, “There’s a secret communication between the artists but no one else understands this language, if you see that someone put his name on a wall, you also want to put your name,” he says.

“In the future I want to keep doing that,” he ends our conversation. He leaves my room and I can see him biking away into the darkness from my window. I know at that moment that Joe’s belief in what is doing will continue to take new forms and colors long after our conversation is over.

Categories: People

This is Kristof

by Tom Schoonen

  

It’s 2 a.m. and Studio /K is pumping with the music and visuals of Green Room when disc jockey Kristof climbs the DJ-booth and controls the mixer standing while the crowd goes wild. Not only the crowd goes wild, but also Kristof himself seems to enjoy the party as much as, or maybe even more than, the crowd. “The only thing I used to hate about being a DJ is that I’m not able to stand in the crowd and go crazy with them,” says Christopher Ricardo McIntosh.

 

Londoner McIntosh is finishing up his MA thesis on “the way that online music piracy has redefined the shape of the [music]industry today towards a more online artist-centric model” in Amsterdam. Being a law graduate student in London, McIntosh wanted to pursue a career in the music industry as a music lawyer.

 

“I got to a point where I could have been in London working for a firm and was happy to do so.” For some strange reason McIntosh re-evaluated himself, left London, and came to Amsterdam. “I knew it was a place that could show me the light.”

 

When in Amsterdam Kristof played all the gigs he could get his hands on.  “Putting my noise out there at clubs, bars, events, discos, house parties, everything! Nothing was off limits and if it could pay, then hey, why not.” And Kristof’s noise got noticed, according to Green Room Kristof is “becoming one of Amsterdam’s most promising forces in the city’s dance movement today.”

 

McIntosh got into DJ’ing out of pure passion for music and the scene. “I fell in love with the dance scene from all the progressive deeper sounds to the more raspy and pounding break beat rhythms from back when it was rocking all the underground clouds in the UK.”

 

When he was 14 years old, McIntosh got a CD from his best friend in the UK, Richard Rowe, that changed his life and the way he saw music. Entroducing by DJ Shadow. “I would not be anything like a DJ, a producer, or even a comprehensive music lover if I had never let Rich show me that CD. I have never changed from that point, I just keep digging as far as I can into what I love.” McIntosh explains.

 

Even after creating a name for himself on the DJ-scene for quit some while he still has a great passion for music and especially performing. “Imagine that you are masturbating. Imagine that you finish yourself off and feel good for a few minutes, then you feel normal again. Well DJing is a lot like masturbating, only that you can keep the buzz going for much longer and people are watching you and cheering you on. Imagine how that feels…”

 

This passion for music led to the production of his own EP Brotherhood, although Kristof doesn’t want to put a finger on what style or genre this EP belongs to. “It seems counter-intuitive. What I feel is what I make, even if it is different to the music I DJ one or another night.”

 

Producing his own music seems like the natural thing to do for Kristof and he explains that it shows respect to your public to try to give back what you take and not simply spin records. “It does amaze me to see DJs who get somewhere and have made themselves well known to only play other peoples stuff. To do so is like riding the bus for free. You know you shouldn’t be but you still do, and in my opinion you’ll only get so far before you get kicked off for not having your pass.”

 

Besides having an amazing talent for spinning and creating tracks, McIntosh also has organizational skills. Together with good friends and partners, he created a new night in Amsterdam: Green Room.

 

Green Room answers to the “growing demand for innovation amongst an expanding body of creative and forward-thinking individuals” by bringing “the highest quality electronic artists of today together for an unforgettable night of blazing progressive music and sharp visual displays.”

 

Green Room is inspired by the hidden underground electronic parties of the 1980’s Los Angeles. For McIntosh, Green Room is “an ode to all the maestros out there being the best at what they are and giving people like me something to admire and wish to be a part of.”

 

The next edition of Green Room with another performance of the resident DJ Kristof is Nov. 19 in Studio /K. “Needless to say, I would recommend attendance – this one is going to be big. The line-up is looking tasty and the music is really going to be something for the crowd to get alive with. I’m very excited.”

Categories: Home, People