You can’t spell “community” without “unity.”

We succeed together. We fail together. The difference between these two outcomes is often found in partnership. Communities who join hands, share responsibilities, build bridges and aspire to achieve as one inevitably enrich their individual members with life-long assets.

The music scene an organization founded for educational, professional, and social entertainment purposes with substantial cohesiveness between both this huge community / organization, and the people within it, supports and protects us on an individual level. At the same time, this interdependence draws from our own individual strengths and pays them forward to the benefit of those surrounding us.

This doesn’t only raise the bar for all let alone the young creatives, but it tightens up the cracks in our community. It draws in those who may have otherwise floundered on the fringes. It elevates those who have fallen and it steadies those who have been weakened by life’s trials

The collaboration of good will and kindness within our team members is not just a best practice; it is an essential practice. Equally important is the involvement of the scenes leaders, all of whom has accepted responsibility for creating diversity and equality towards all, as well as nurturing the up and coming artists and creatives.

Only unity can propel our scene towards a brighter day.

PLUR comes from the very start of rave culture in The United States.  In 1990. Based on the exact concept only found in Britain in the late 1980′s.  Not much can be researched using Google, because the underground years between 1990-1993 haven’t been spoken about.  At the 25 year mark, Frankie Bones began to go into great detail of the U.S. scene.

“PLUR (Peace, Love, Unity, REMEMBER)

Frankie Bones has remained an instrumental force in dance music culture since the beginning. Not only recognized for birthing the rave scene in America in the early 90’s, his unique contributions of music paired with a resilient New York attitude have helped drive the scene forward for more than three decades. And in 2017 his legacy is growing larger than life.

The man behind New York City’s Groove Records and Sonic Groove Records, which were the vinyl gateways of the ‘90s transatlantic rave scene, Bones knows the many threads of modern dance music like the back of his hand. After being flown out to the U.K. in 1989 to play a sunrise set at Energy to 25,000 ravers losing their minds, he never looked back. That morning is still at the core of him, and you can hear it in every full-on DJ mix or production which pulses from his electric touch.

While being the first American DJ to hit it hard in the U.K., Frankie also toured across Europe as the rave scene there began to grow. His 1989 release “Call It Techno” became a cult classic in Germany, and his “Future Is Ours” and “My House Is Your House” became the official names of the 1991 and 1992 Love Parades in Berlin.

Before long, his influence on the scene extended beyond the music alone. As graffiti writers with underground status running into subway tunnels to paint trains, Frankie and his brother Adam X painted the infamous “Peace Love Unity Movement” train car on July 4, 1990, to spread their message of peace in a violent era during New York City history. People soon began to learn what PLUM – which would eventually transform into PLUR – was all about.

Bones was pushing the movement through his music. In May of 1991, Frankie and his crew started STORMrave, a series of illegal underground events in NYC which proved legendary and ran until December 1992. They were held in abandoned warehouses, factories, and railroad yards – and became a model for similar gatherings that emerged from the rave scene.

The likes of Richie Hawtin, Sven Väth, Moby, Hardkiss, and Doc Martin all played at STORMrave, which planted serious electronic dance music roots in the USA and beyond. Moby recently explained, “Frankie Bones was our hero, because he had gone to Europe and he actually made records.”

On July 24, 1993 a fight broke out at an underground party in the Bronx at which Frankie Bones was DJing. On this infamous occasion Frankie got on the mic and said, “If you don’t start showing some Peace, Love, and Unity, I’ll break your f*cking faces.” It was from this speech that a raver from the party changed the ‘M’ for ‘Movement’ to ‘R’ for ‘Respect’. And PLUR has been the mantra for dance music culture ever since.

Take one look at his discography and you’ll realize the contributions he’s made to electronic dance music over the years. In 2014, Roland endorsed him with their new line of analog Aria gear. Several months later he played an epic Boiler Room set during the Brooklyn Electronic Music Festival.  He used the Aria Roland gear live, demonstrating true showmanship with his raw techniques. His Boiler Room set started off with crowd cheers as he spoke the words to “Call it Techno”, an impervious manifesto for his sound and the global rave scene, using his headphones as a microphone: “The techno wave has grown with a style of our own, direct from Brooklyn. Essential funk kicking snare, make you feel it out over there, out of London. Call it techno. You can feel the bass. Call it techno. Techno bass…”

In May of 2015, the Red Bull Music Academy honored him with a very special STORMrave reunion party, which made for the highlight event during their month-long music festival in NYC. Red Bull was able to capture the very essence of the STORMrave spirit, and for one night people got to experience a moment that had been absent from NYC for 22 years.

10 Mixes: A Guide to Frankie Bones

He played the 20th year anniversary party for Insomniac’s Electric Daisy Carnival in Las Vegas in June of 2016, which broke the record for any rave in the USA with over 400,000 in attendance.

In the fall of 2016 he launched a new music label, Bangin Music, which has already received major attention. He’s focusing the label primarily on techno, but going back to his roots, he has been re-releasing his classic Bonesbreaks series available on digital for the first time ever; and has already released several brand new albums from the series. His original Bonesbreaks records inspired England’s early hardcore, breaks, and drum and bass scenes, influencing tastemakers from Carl Cox to Goldie.

Frankie Bones started off 2017 with a brand new album from his classic Bonesbreaks series. Bonesbreaks Vol.16 (digital) is an 8 track album featuring new techno and breaks creations to get the party started.

Frankie Bones has been recognized by influential publications that actually know something about dance music’s history, like DJ Mag, Resident Advisor, Vice’s Thump, Redbull Music Academy, Insomniac, MagneticMag ChosenByTheFunk and The Daily Beast, just to name a few, for his massive contributions.  As a true innovator with a style like no other, Frankie continues to push the boundaries of electronic music.

He takes us on a memorable journey into sound.. Piecing together the past with the present, holding a special key to the future.. Keeping the true message of the movement alive for all time.

There is so so so much more to this story, for now the basis for the next 20 years remained the same. To play great music for the people wherever the scene took him. Frankie still spins every weekend and always stays current to the trends and styles which make up DJ culture.

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Bump Your Head (12″) Bellboy Records
Ghetto Technics 12 (12″) Ghetto Technics
Ghetto Technics 13 (12″) Ghetto Technics
Ghetto Technics 15 (12″) Ghetto Technics
Ghetto Technics 3 (12″) Ghetto Technics
Ghetto Technics 4 (12″) Ghetto Technics
Ghetto Technics 6 (12″) Ghetto Technics
The East Coast House EP (12″) Groove World
Trackwerk Blue (12″) D-Dance
Who Knows Dem Ho’s? (12″) Whack Trax
Bonesbreaks Volume 1 (LP) Underworld Records 1988
Bonesbreaks Volume 2 (LP) Underworld Records 1988
Bonesbreaks Volume 3 (LP) Underworld Records 1989
Call It Techno (12″) Breaking Bones Records 1989
New Grooves EP (12″) Nugroove Records 1989
Bonesbreaks Volume 4 (12″) Breaking Bones Records 1990
Bonesbreaks Volume 5 (12″) Underworld Records 1990
Call It Techno (12″) JEP Records 1990
Call It Techno (Remixes) (12″) X Records (US) 1990
Cross Bones E.P. (12″) Rave Age Records 1991
Crossbones E.P. (12″) Fabulous Music UK 1991
Bonesbreaks Volume 6 (12″) Groove World 1992
Trapezoid (12″) Fabulous Music UK 1992
Bonesbreaks 7 (Progressive Vibe EP) (12″) Groove World 1993
Bonesbreaks Volume 8 (Progressive Aggressive Freestyle EP) (12″) Groove World 1993
From Brooklyn With Love EP (12″) Groove World 1993
The Thunderground EP (12″) Groove World 1993
Thunderground E.P. (12″) Fabulous Music UK 1993
We Can Do This (12″) Groove World 1993
We Can Do This / Feel The Rush (Test Pressing) (12″) Groove World 1993
Bonesbreaks Volume 10 (12″) Brooklyn Gutter Culture 1994
The 2 Clues EP (12″) Empire State Records 1994
Bone Up! (LP) Trax Records 1995
Bonesbreaks – The Unreleased Project (12″) Music Station 1995
Bonesbreaks Volume 10 (12″) Hot Associated Label 1995
Einstein e=me+3² (12″) Drop Bass Network 1995
Inside The Silverbox EP (12″) Electric Music Foundation 1995
Bonesbreaks Volume 11 (LP) Underworld Records 1996
Climax Control (12″) Hyperspace 1996
Furthur (12″) Drop Bass Network, Communique Records 1996
My Peak (Promo) (12″) Logic Records (US), Logic Records (US) 1996
Rewind Tomorrow E.P. (12″) Futurist 1996
Technolo-G (12″) ESP-SUN Records 1996
Trackwerk Orange 1 (12″) D-Dance 1996
B2B (12″) ESP-SUN Records 1997
Ghetto Technics 1 (12″) Ghetto Technics 1997
Ghetto Technics 2 (12″) Ghetto Technics 1997
Inside Mr. Paul’s Greybox (12″) Futurist 1997
Proceed With Caution EP (12″) Electric Music Foundation 1997
Computer Controlled (CD) X-Sight Records 1998
Computer Controlled (CD) X-Sight Records 1998
Computer Controlled (Live In California) (CD) Livewire 1998
Dirty Job (12″) X-Sight Records 1998
Ghetto Technics 5 (12″) Ghetto Technics 1998
Ghetto Technics 7 (12″) Ghetto Technics 1998
Ghetto Technics 8 (12″) Ghetto Technics 1998
High I.Q. (2×10″) Hyperspace 1998
In The Socket (12″) ESP-SUN Records 1998
Rockaway Shuttle EP (12″) Sonic Groove 1998
Technolo-G (CD) ESP-SUN Records 1998
The Candle EP (12″) High Octane Recordings 1998
Computer Controlled 2 (CD) X-Sight Records 1999
Computer Controlled 2 (CD) Brooklyn Music Limited (BML) 1999
Ghetto Technics 10 (12″) Ghetto Technics 1999
Ghetto Technics 11 (12″) Ghetto Technics 1999
Ghetto Technics 9 (12″) Ghetto Technics 1999
The Mutha Fuckin Good Life (12″) Underground Construction 1999
The Way U Like It (12″) Bellboy Records 1999
We Call It Tekkno (12″) Bash Again! 1999
America In Black & White EP (12″) Bellboy Records 2000
Baseball Fury (12″) Sonic Groove 2000
Bonesbreaks 2000 (12″) Badmotherf#*ker 2000
House Special EP (12″) Urban Substance Records 2000
My House Is Your House (12″) Bash Again! 2000
My House Is Your House (12″) Bash Again! 2000
The Saga EP (12″) Pro-Jex 2000
5 Drum Machines, 4 Effect Processors, 3 Samplers, 2 Turntables, and 1 Mixer : Future Concepts in Underground Invention (Cassette) Sonic Groove 2001
Electrophonic (12″) E Series 2001
Filthy Dirty Animal Crackers (12″) Blueline Music 2001
Ghetto Technics 14 (12″) Ghetto Technics 2001
Ghetto Technics 16 (12″) Ghetto Technics 2001
Ring Your Alarm EP (12″) Pro-Jex 2001
The Metropolitan EP (12″) Missile Records 2001
The Strength To Communicate (12″) Remains 2001
The US Ghetto Selecta (12″) Pro-Jex 2001
Turntable Specialist #1 (12″) Hard To Swallow 2001
And Here’s Another Human Distraction (12″) Remains 2002
Army Of One (CD) System Recordings 2002
Pro.File 2: Frankie Bones, Turntable Specialist (CD) Brooklyn Music Limited (BML) 2002
The Day After The Music Stopped EP (12″) Hard To Swallow 2002
The Lot Of People (12″) Pro-Jex 2002
The Thin Line Between Fantasy & Reality (2xLP) Pro-Jex 2002
The Thin Line Between Fantasy & Reality (CD) Pro-Jex 2002
Underground Mash-Ups (12″) Hard To Swallow 2003
(Pro)File. (Pro)Duce. E.P. (12″) The Last Label 2004
Crash-Up On Interstate 95 (12″) The Last Label 2004
The Lot Of People (12″) Pro-Jex 2004
Unidentified (12″) Kiddaz.fm 2004
Act Like You Know (CD) System Recordings 2005
Speedometer EP (12″) Synchronicity Recordings 2006
The House of ODD (12″) The Groove Shop 2006