Deadmau5 why the mask

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Dance producers' anonymity via multiple aliases and white label pressings was one key antecedent for today's Daft Punk's robot gear or Marshmello's white bucket. But a more directly visual predecessor to the modern DJ's headgear came via virtual reality VR —specifically, the goggles one wears to experience it.

The first pair of VR goggles emerged in , to abet cinematographer Morton Heilig's Sensorama: "an arcade-style theatre cabinet that would stimulate all the senses, not just sight and sound," per the history page of the UK-based Virtual Reality Society VRS.

In the eighties, computer scientist and author Jaron Lanier coined the name "virtual reality" for a series of "multi-person virtual worlds using head mounted displays," as he puts it in his webpage's bio. But VR gear became more commonplace and less costly over time, and by the 90s, VR tech had made its way into video games notably, Sega VR.

VR games were also a common side attraction at many earlys raves, particularly in tech-rich San Francisco. We needed to see what we were doing, because we're running all the instruments live. We found these in a gift shop in New York opposite what used to be Tower Records—a shop called Space Age Gifts, a novelty shop, definitely not there anymore. It must have been ' We found novelty glasses and cut them up and put Maglites in them. That became our trademark. A far sillier, if just as arresting, visual gimmick came courtesy of another UK duo, Altern-8—namely, they'd take the stages of earlys raves wearing biohazard suits and yellow gas masks.

Altern-8's look became iconic—a cheeky rejoinder to rockist complaints about "faceless techno bollocks. Altern-8's—and the 90s rave scene's—anonymity was certainly a switch from ego-fueled pop and hip-hop. It was also a response to the sudden ascendance of alternative rock. Fans had become used to bands like Nirvana being only theirs, and many found rave's anonymity a refreshing change from the cooptation suddenly all around. As Eddie Vedder and Kurt Cobain wrestled publicly with their own stardom, the rave brigade responded: Oh yeah?

We'll show you what it's like to not want to be famous. That anonymity wasn't always a welcome commodity in dance circles. It's always about who has the hot name. You list the names of the DJs. During the lates "electronica" boom in the US, that impersonal sense put off as many people as it turned on.

Medieval doctors believed the sickness spread through "bad air," and so stuffed the long beaks with dried flowers, herbs and spices. Claptone's take is also a bit of a tongue-in-cheek statement on modern society.

Form and function melt when Claptone plays his sets, bright and dark, angry and warm-hearted, happy and sad, calm and outrageous. If you open your heart you can feel it: Claptone deals in emotions. Together, these concepts come together in the form of a fanciful, self-proclaimed "imaginary friend" with a glowing face. The DIY mask is covered in vaguely tribal patterns and shaped in a kind of hybrid between a bear and a deer. As a kid, the artist behind this mask was very interested in escape as expression.

He liked to draw and practice photography. He'd make his own videos and soon got into music production. The drums have always captivated him, and it's drums that add the live element to his interactive shows.

Slow Magic regularly invites fans to grab a stick and play on his electronic drums or turns his samplers around to let people smash a button or two. He wears his mask to remove his identity from the equation and hopes it gives the project a universal quality. If you want to join the imaginary friend family, you can get a sound-reactive official Slow Magic mask of your own via the Slow Magic website.

Primarily the project of producer Sir Bob Cornelius Rifo, the The Bloody Beetroots performed as a duo throughout the late s, with its single "Warp" with Steve Aoki shooting the project to international fame. Having watched his uncle go through the motions of stardom as a fairly successful punk drummer, Rifo realized he didn't want any part of it.

That's the reason why I wear a mask," Rifo told Sidewalk Talk. I wanna go get a coffee without anybody hassling me. In , his mask was redesigned once more to bear the message "NO" in place of eye slants. The meaning behind the message remains a mystery. This London-based producer takes letting the music speak to itself to a new level. The name SBTRKT is a direct reference to the subtraction of his personage from the project, and yet his heritage and upbringing have a heavy hand in the overall presentation.

Born in London of Indian descent, the man behind this neon-tribal mask spent much of his childhood in Kenya. It inspires the way I write music, and in the end the mask is just the visual identity of that. The mask is designed and created in conjunction with similarly anonymous designer and visual art director A Hidden Place. The designer once told OkayAfrica that its colorful shapes are "inspired by many native and ancient societies from a global viewpoint.

I do like the 3D masks of the Dogon people, and perhaps the triangles you might see on masks from the Congo. There's not much we know about Malaa. The French producer wears a balaclava, more commonly known as a ski mask, to hide his identity. Unlike Marshmello, he never talks on the mic nor breaks character.

He doesn't even show up to label meetings or festival backstage areas sans quilted veil. Why the balaclava? That's hard to answer, given that Malaa doesn't talk. If we venture a guess, it's indicative of his underbelly street aesthetic and "ghetto house" sound.