“We played at Red Rocks three times this year, which was another one of our bucket list venues, so we’re really looking forward to experiencing the Gorge, as well.” It’s going to be incredible to see what Insomniac does with such a spectacular venue,” Sidepiece said. “We’re so excited to make history with Insomniac and so many dance music fans. Sidepiece knows that they’ll be part of EDM history and look forward to performing outdoors as life in a pandemic continues. “It’s without a doubt one of the most incredible music venues in the entire world.”
“Each of us has traveled there multiple times for shows for our solo projects, but we’re extremely excited to play at the Gorge for the first-ever Beyond Wonderland taking place there. “We’re both pretty familiar with the Pacific Northwest,” Sidepiece said collectively via email. While this is the festival’s first time in the Pacific Northwest, it won’t be for house duo Sidepiece – Miami-based record producer, DJ and vocalist Nitti Gritti (birthname Ricky Mears) and record producer collaborator Party Favor. This weekend’s Beyond Wonderland, an 18-and-older event, will transform more than 170 acres of the outdoor George location into a multisensory audiovisual experience.Īlice’s psychedelic storybook at Beyond Wonderland includes three stages: Fractal Valley, Cheshire Woods and Caterpillar’s Garden.
Since 2010, Beyond Wonderland has drawn 400,000 fans in California, Mexico, Colombia and more. Friday and Saturday, and spilling into Sunday morning, will host more than 60 diverse, popular and award-winning dance music artists – among them Steve Aoki, the Chainsmokers, Tiesto, Benny Benassi and Felix Cartal – during the three nights of camping and two days of music, art and exploration. By locating the work of Black female actors, directors and writers within diversity debates and the complex ‘wonderland’ of whiteness in film, they show how Black film opens up what Faye Ginsburg describes as complex ‘Aboriginal lifeworlds’ for Black characters on screen.When global music producer Insomniac announced in May that it was bringing the electronic dance music festival Beyond Wonderland to the Pacific Northwest for the first time, and specifically the Gorge Amphitheatre, this longtime EDM fan’s heart skipped 100,000 BPM.īeing a fan of the high-energy and pulsating music for about a quarter of a century, and covering Insomniac’s Electric Daisy Carnival in Las Vegas from its inaugural year in 2011 through 2017, learning that Beyond Wonderland was coming to this neck of the woods made this journalist beyond elated.īeyond Wonderland at the Gorge, from 2 p.m.-1:30 a.m. It also argues that the films of Indigenous women film makers, such as Rachel Perkins and Leah Purcell, exemplify both a decolonising poetics and central positioning of Indigenous women's stories that shift the dominant norm of white, patriarchal narratives. The chapter moves then to look beyond the white ‘wonderland’, highlighting creative counterpoints in the work of Indigenous women filmmakers. It situates issues of race representation and dialogues on diversity in film and media industry contexts within discourses on whiteness and its relation to history and sociality. This chapter draws on critical race and whiteness studies to speak explicitly to the racial homogeneity on Australian screens and the dominance of white representation.