Igor Stravinsky’s “Rite of Spring” debuted in May 1913 at the Theatre du Champs-Élysées and was performed by Diaghilev’s Ballets Russes. Bringing elements of harmonic dissonance, complex and experimental rhythm structures, and an all-together avant-garde composition style brought abrasion, brutality, and subjectivity to the world/culture of orchestral music/performance. With an intentionally minimalist assortment of melodic pitches to drive its immensely complex arrangement, Rite of Spring was so subversive that it triggered a now notorious riot that led to 40 arrests by the end of the performance. The piece in its entirety was loved or hated, but never ignored. It defied and in its execution destroyed the pre-existing structures of music at the time, and was unconcerned with adhering to the expectations of even a “seasoned” crowd of art lovers. In its paradoxical conviction, Rite of Spring infected the landscape of music with modernity. To destroy, deconstruct, subvert, and restructure the preexisting pieces of any medium to create a new one will always be the goal of modernity. Art is and should always be transitory, pushing all of us towards what is next. This is what Rite of Spring undoubtedly achieved. Among my friends/collaborators, we have a term for artists “like us”. We jokingly/endearingly call each other “noisers”. Not because our music/art features elements of noise, but because it is an approach that attempts to fearlessly cleave at what is. Not only within music but with how we may live as artists and who we let decide to tell us what we may or may not do/achieve with our art. It doesn’t matter if we have to redline the whole dj set, create custom battle vests out of midi controllers and tear through a crowd of innocent listeners, or perform an apocalyptic noise remix of Sheck Wes’s Mo Bamba, we do what it takes to move into the next world by kicking the door in on what is. Basically, Stravinsky was the first noiser.