Faggots Are Women: Feminización Americana Worldwide

Who they are

• 

  PAURRO

  Mexico City, Mexico · 29 bookings since Aug 2023

  “Paulina Rodriguez, known as PAURRO, is a Mexico City-based producer and DJ with over a decade of experience in the music industry.”

  their own biography

  the whole biography

  Paulina Rodriguez, known as PAURRO, is a Mexico City-based producer and DJ with over a decade of experience in the music industry. As a proud ambassador of Mexico's vibrant electronic music landscape, PAURRO has solidified her position as a prominent figure on the global stage, enchanting audiences with her dynamic performances and cutting-edge productions. Starting her journey after completing college, PAURRO delved into the world of DJing by taking a course and honing her skills in local venues. Her talent quickly gained recognition, leading to bookings at top parties and nightclubs in Mexico City and beyond. Known for her ability to keep the dance floor packed, PAURRO's dynamic performances have earned her a reputation as a standout artist in the Mexican electronic music scene. In addition to her DJing prowess, PAURRO further expanded her musical horizons by acquiring a music production certification from SAE Institute. This training enabled her to craft her own tracks, adding a unique and personal touch to her DJ sets. In 2018, PAURRO's influence in Mexico City's music scene was solidified through her roles as a booker, programmer, and radio host at Aire Libre. Her growing recognition led to performances at renowned festivals and clubs in Mexico and South America, establishing her as a rising star in the industry. Amidst the challenges of the pandemic, PAURRO remained dedicated to her craft, releasing her debut single "Only You Can Save Me" on Discos Sentimiento and sharing her expertise through educational initiatives for aspiring DJs and producers. In 2021, PAURRO's collaboration with music producer Matias Aguayo of Cómeme opened new doors for her career, culminating in the release of her debut EP "Galavision" on the label. As the label manager of Cómeme, PAURRO's partnership with Aguayo not only highlighted her evolving sound but also solidified her position as an artist to watch in the ever-evolving electronic music landscape. With accolades from top electronic music publications and performances at renowned venues such as Tresor and Boiler Room, PAURRO's star continues to rise. Her residency night "House of Paurro" at Yu Yu has garnered international acclaim, showcasing her commitment to diversity and inclusivity in the music industry in cities like New York, Miami, Bogota and Berlin. PAURRO's production talents have caught the attention of esteemed labels like Local Action, Clasico and Nervous, with support from industry peers and airplay on global radio stations. Her dedication to her craft and dynamic performances have earned her a loyal fan base and a reputation as one of the industry's most versatile and talented DJs. PAURRO also hosts a monthly radio show "Antojitos" on Radio 80000 for a taste of her eclectic musical style and infectious energy.
  SoundCloud ↗Bandcamp ↗
  Their RA profile lists Nervous Records, Cómeme, Local Action, Omnidisc and 4 more.

  Recently at The Chocolate Factory, public records, Mansions · often with Posture, TRESOR, JAXX TMS, none of them here that night

• Cashu

  Brazil · 10 bookings since Oct 2023

  “In an attempt to occupy and decentralize the scene, she created alongside with Carneosso the Mamba Negra collective, an independent brand that offers experiences of artistic multi languages. platforms for diversified artists.”

  their own biography

  the whole biography

  In an attempt to occupy and decentralize the scene, she created alongside with Carneosso the Mamba Negra collective, an independent brand that offers experiences of artistic multi languages. platforms for diversified artists. Through the making of street events that usually take place in abandoned and uninhabited locations, such as student and artist’s squats, the events become self-manageable festivals that represent and push forward the fights for female representativeness and sexual and gender freedom. This group of artistic paths has come in 2013, and it started as a platform for live and organic music to solidify itself as one of São Paulo’s main electronic music parties and also works as a musical project, agency, visual intervention dispositor, label and radio. Cashu has already played with different groups and collectives from other states that occupy, decentralize and hack the Brazilian electronic scene, performing in more that 15 Brazilian cities. She brings that energy to the big clubs and festivals, playing on DIY and warehouse parties and big clubs like Terraza (Florianópolis) and Rio Me Festival (Rio de Janeiro). In the same years, Cashu went on her first European tour, playing at 6 different clubs in Berlin. In 2016 she appeared in The Fader’s 25 Artists From Around The World You Need To Know Right Now. In 2017 she was invited to play at Dekmantel Festival SP, Panorama Bar/Berghain, Red Bull Music Academy Festival SP, went on tour with Dekmantel (São Paulo and Rio de Janeiro), Coquetel Molotov Festival (Recife) and CCBB Música e Performance. At the end of 2017, she was invited to participate in Stadt Nach Acht Conference in Berlin, organized by Klub Comission, where she talked about the Brazilian electronic scene as well as performed at the conference’s party. She started the year of 2018 with a trip to Amsterdam, invited by the “De School” club, when she also had a chance to perform at the Red Light Radio. At her home country, she participated in Dekmantel Festival in São Paulo and in the pre-Dekmantel transmission, organized by Resident Advisor, as well as having played for 50 thousand people at SP Beats, one of the country's main carnival electronic street parties. This year the artist is also travelling through other Latin American countries, performing at Moodlate party in Paraguay, Noctambula in Chile and Traición in Mexico, besides having recorded a mixtape for Radar Radio. ​ In the mean time, Cashu has developed musical partnerships with other artists, such as the DJ and producer Benjamim Sallum and Amanda Mussi in the LORAC ISSUM project. She also started her productions during the Red Bull Music Pulse’s residency in São Paulo, in the Chilean musical producer Valesuchi’s team. Now she is preparing for her next European tour in August, when she is invited to play at Dekmantel Festival in Amsterdam.
  SoundCloud ↗
  Their RA profile lists Mamba Rec.

  Recently at Paragon, The Chocolate Factory, Earthly Delights · often with CCL, John Talabot, Alírio, none of them here that night

• 

  Abe Duque

  New York City · 2 bookings since Mar 2025

  “ABE DUQUE IS IN THE MOOD FOR LOVE.”

  their own biography

  the whole biography

  ABE DUQUE IS IN THE MOOD FOR LOVE. The name is pronounced “Du-kay”. He jokingly describes himself as one of the "few producers still licenced to use the 303". But with a career that started in the early days of house at New York's notorious Limelight, Abe Duque has been at the head of the acid-house and underground-techno table since his earliest releases way back in 1993. His first tracks were influenced by the madness of the Limelight's club-kid audience, later publicised by films and books like Party Monster and Clubland Confidential. But despite jokey titles like "Fantastico!!!", "Truckers Choice" and "Vodka, you sweet companion," his early tracks had the sophistication of his serious keyboard skills and a get-in-and-do-it-yourself aesthetic learned as a kid growing up in the suburbs in Hollis in Queens, New York. From muscular and melodic techno to cocktail jazz and ambient interludes, his early tracks on his own labels Tension and Hollis Haus, his releases under pseudonyms like Kirilan, Super Secret Symphony and his releases on others' labels like Disko B, Rapture!, Morbid, and Tresor captured a particular period of clubbing history bought to a sudden halt when the Limelight was closed down by the cops. It was, Duque says, a great time for musical experimentation. Each month bought radical new types of music kit - much of which Duque still keeps in use in his underground studio "the Cave" - alongside an amazement of now classic tracks and new acts. And as techno was almost exclusively made by working musicians, a lot of it was performed live. At Duque’s night at the Limelight night, Abuse Industries, he was part of regular performances with the live techno "chillout supergroup" the Rancho Relaxo Allstars, freeform jams which included now famous techno producers like Duque himself, John Selway and Deitrich Shoenemann. For a short spell, Duque was also the keyboard player for Program2, a techno band signed to Warners for an advance Duque still describes as “insane”. Abuse Industries itself, meanwhile, was Abe's collaboration with the artist Andy Orel, a night so strikingly visual and challenging that its visuals were exhibited in European museums, given page after page in Germany's Raveline magazine, and used in shows by Helmut Lang. But when the Limelight closed, that roughly marked the end of New York as a clubbing mecca. New mayor Rudolph Guiliani was determined to drive the freaks, the gays and the wasted out of his town, and he mostly succeeded. Duque by then had a thriving European and worldwide touring schedule, and musicially he still had roots in the underground. Abandoning the glossy, high-fashion style of Tension and Abuse Industries, Duque’s next sets of releases were on anonymous, vinyl only stamped with catalogue numbers like "ADR40" [Abe Duque Records 40] and etched on one side at the pressing plant with strange, hand-drawn messages from the man himself. In some ways Duque was turning his back on the New York style, and on his previous successes. As he describes it, "I wanted to prove that my music spoke for itself". It did. Despite the secrecy about who had actually written the ADR releases, this second part of Duque's career was a run of increasingly massive 12" hits like Champagne Days, Cocaine Nights; Acid, Disco Nights, and in 2004 his monster smash with Blake Baxter, "What Happened?", the track that launched Duque and Baxter out of the underground and into the spotlight. That track's call for a turn away from safe, unchallenging clubbing sold 25,000 copies on vinyl alone and in 2009, it was the focus of a rare remix competition on ResidentAdvisor - despite Duque and Baxter's refusal to market the track by signing it to any the 100s of compilations on offer. Having been dragged out of the underground, Duque found himself feted by the mainstream, delivering hugely successful remixes of acts like the Chemical Brothers and Pet Shop Boys while continuing to work right across the techno world. There, his brutally funky basslines and acid influence were – and still are - hugely in demand for remixes of acts such as Miss Kittin, Remute, Chloe, Savas Pascalidis, Knart IV and Daniel Meteo – as well as DJ Hell, with Duque becoming a regular on Hell's Gigolos label. The two had met having moving in the same German and NY electronic circles since the Abuse Industries days, and so Duque was asked to produce Hell's infamous album NY Muscle in 2003 and in 2006 to helm the well-recieved "American Gigolos II" compilation. The highlight of this period, though, was Duque's first album under his own name, "So Underground It Hurts". The title was yet another example of Duque's ambivalence about succcess and its trappings, but the album was undeniably a techno event. Reviewed in the fashion press as influenced by Gigolos' German electroclash style, but the album was understood by the music press as something quite separate and self-contained. Duque was again striking out along his own path. Part wild acid, part dark house and all leavened with Duque's dry, quiet stoner humour, the album also provided a launchpad for Duque's return to wild live performances – a whiskey bottle in one hand and a 303, drum machine, two PCs and a microphone operated by the other. It was the start of Duque’s second, endless round of watching the world through the windows of a hotel and moving restlessly between a temporary flat in Berlin and his spiritual home in Queens. Several years on the road with his stable of vocalists – Blake Baxter, Tijiana T, Acid Maria, Virginia, and occasional appearances by Abuse collaborator Andy Orel as “Sin” – meant that Abe released only intermittently on his own label, Abe Duque Records. There, new tracks like the darkly funny It Moved Me, Whose Got the Flave, and a singles collection on CD When the Fever Breaks added to Duque’s reputation as the producers’ producer. Eventually, though, Duque had had enough of continual touring. By 2008 he said he had been doing live sets for so long that he "was thinking about DJing again for a change, just as everyone else was going live”. Returning to the studio, he wrote the album Don’t Be So Mean, its title an oblique reference to the Iraq war and US foreign policy. The cover? Duque on the front brandishing a machine gun - and the same machine gun pointing straight at Duque inside. Released in 2009, the album offered optimism about Obama (“Tonight is your answer”), let Blake Baxter loose on the dance scene in a response to What Happened? called Let’s Take It Back, and also marked Duque’s return to leftfield electronics with tracks like OFMA and Salute the Dawn, which threw together Debussy with lyrics by 1800s American revolutionary and moralist Thoreau. Don’t Be So Mean was also the stepping stone to Abe’s three new projects in 2010. The first, due May 2010, will be a compilation LIVE AND ON ACID: two CDs, one of his live show, and one a wrap-up of Limelight acid-house classics. The second, under the broad church of Abuse Industries, is the return of the Abuse Industries night, and a series of sinner-themed Abuse 12”s in collaboration with Andy Orel – see abuseindustries.net for more. And finally, Duque's third new project is a secret performance project that leaves the dancefloor world entirely. Last year, Abe Duque was in the mood for love, and he said "Don’t Be So Mean". But as he enters the third part of his long, strange musical career, that’s all going to change…
  Discography ↗
  Their RA profile lists Mute Records, International DeeJay Gigolo Records, novamute, Ladomat 2000 and 6 more.

  often with Justin Cudmore, Boris, Volvox, none of them here that night

• 

  Sterling Juan Diaz

  New York City · 99 bookings since Aug 2023

  “Sterling Juan Diaz has an instinctive feel for groove.”

  their own biography

  the whole biography

  Sterling Juan Diaz has an instinctive feel for groove. Born in New York City & raised between there & the Dominican Republic, he was captivated by the percussive rhythms of hip-hop & latin music from a young age, fostering a diverse musical passion. Once he taught himself to DJ, his eclectic taste & skill quickly gained attention in New York City's queer nightlife, becoming a staple at parties like Nowadays Nonstop, Papi Juice, & BASEMENT’s resident party FIST. Diaz's insatiable appetite for music, discerning taste, & impressive mixing skills have solidified his reputation for delivering electrifying, sets consistently. His innovative, captivating style has earned him spots at festivals such as Honcho Campout, DWELLER, & Wire Festival, & has taken him to parties across the nation, including Atlanta’s Back Room & Washington D.C.’s Flower Factory. Internationally, Diaz has performed at The MECA Art Fair in the Dominican Republic, as well as at Buttons & Sysiphos in Berlin, Germany. In July 2023, Diaz was chosen as an opening DJ for Beyoncé’s New York City show during her record-breaking Renaissance World Tour, joining a distinguished roster of DJs celebrating the album’s tribute to Black queer & trans history. From his curatorial work as a resident DJ of Playground Radio & their annual Block Party to his recurring club night SIMPULSO at Bossa Nova Civic Club, Diaz has established himself as an unmissable voice in Brooklyn's new generation of young selectors. His sets range from chest-rumbling bass wubs to euphoric house keys, showcasing the rich heritage of the underground while exploring the depths of sound through the rhythmic threads of his Dominican roots. Sterling Juan Diaz has not only crafted a unique musical identity but also stands as a beacon of collaboration & community building.
  SoundCloud ↗

  Recently at Nowadays, BASEMENT, Paragon · often with Makadsi, ALEXIS DE LA ROSA, Sekucci, none of them here that night