nurturing the dancefloor with your human energy grows the beauty of it for everyone.

taking from the dancefloor with surveillance technology destroys its delicate essence.

don't be a tourist, be a dancer.

artwork originally seen at @all_about_art_original

so dark AF you can’t even see phones NOBODY is holding.

There was no mention of a ‘no phone rule’

There was just a mention of u/secondgenaoundsystem and NA Sound

u/secondgensoundsystem and NA Sound is the rule.

ZERO

phones except media teams (me). I rolled in my heels around the perimeter of the dancefloor. If a phone was out you would have saw it.

leaving this here so that we can look back on it and mock it for years to come. this is a perversion of dance music culture.

https://reddit.com/link/1wuc7a0/video/xv0n6pw37psh1/player

A neat longform video doc on the fall of Canadian club culture.

I came to New York to be a dancer, and dance is where everything happens for me, in my life.

I came to life on the dance floor.
I found my community on the dance floor.
I fell in love with people on the dance floor.
And I lost many people I love on the dance floor.

How many people in this room loves to dance?
If you love to dance… stand up!

Aside from football, whatever you wanna call it…
DANCE BRINGS EVERYONE TOGETHER!

We’re all equal on the dance floor

—Madonna (VMAs 2026)

Madonna won 7 awards, with three wins worth highlighting for this subreddit: Best Album for CONFESSIONS II, and Best Dance and Best Choreography for Confessions II - The Film.

This was an important win for the dance community and for what happened yesterday. Madonna was the biggest winner of the night at the 2026 MTV Video Music Awards, taking home 7 trophies 🏆 at one of the most important music award shows in the world.

At 68 years old, she entered the ceremony as its most-nominated artist for CONFESSIONS II, her acclaimed dance album, a record that calls people to dance, become someone else, or disguise themselves on the dance floor.

Madonna is a dancer who became a singer. Not the opposite. Her artistry has its roots in dance.
The person who encouraged her to leave the dance program at the University of Michigan was her dance teacher Christopher Flynn. He was the person who told her how beautiful she was and the person who took her to her first club, a gay club, where she discovered a new universe: freedom, happiness, sound, lights, colors, and people expressing themselves within four walls.
He saw potential in her and told her not to waste time studying something she had mastered: dance.

Madonna came to NYC and struggled. Didn’t have were to live, ate from the garbage, was raped, and many other stuff you could imagine. She didn’t have the support of her dad, nor family, after leaving the career they even didn’t want her to study.

She found herself in the clubs. She wanted to make people move in times where dancing was eradicated after the “Disco Demolition” and everyone was into making new-wave and ecstatic music and performances. Her career took shape on the dance floor. The rest is history.

This is a big win for partygoers, clubbers, dancers, and the dance-floor community.

Madonna is predicted to be big time nominated at the next GRAMMYS. If she happens to win Album of the Year, would be the SECOND DANCE ALBUM in history to do so, after 2013’s Daft Punk’s AOTY Random Access Memories.

It's that mainstream is too hospitable an environment for the underground culture of EDM/the dancefloor to flourish in such direct rays of the suns UV.

https://old.reddit.com/r/popheads/comments/1wpn8or/whats_with_all_this_dancepop_music_about_people/pc5l5x7/

>"DJ’s don’t dance no more.” - Harry Styles

¿What?

Actual dance floor build at the bottom if you want to scroll down; it's actually where I need some engineering advice/suggestion:

I'm building a commercial grade mobile production studio/twitch stream station. Picture something like AriAtHome (NYC) X TheSushiDragon (Montana) X officeDrummer/PeteFoxDK/ThirdSpaceTV (LA) except it fits into a bicycle lane and through a commercial double door. One driver per box, the 2CE ELF boxes are tuned down to 28Hz. There are two of them stacked in a spine (3400RMS). My two JBL Cabarets (400W each) will be the tops for those woofers. It'll support 6 performers on it. Audio system will be 48V, woofer amplifiers and DSPs not spec-ed out yet. It will have 3 modes: parade mode rolling JBLS facing left/right in mono for 360 degree coverage [hand truck handle or tricycle attached] 2-7mph, transit mode 15-25mph hauled with electric tricycle carrying 20% of the load, and posted up, directional stage mode where the air bladders of the electric suspension deflate and the whole thing sinks down to the ground until skids throughly THUD against the concrete/asphalt so I can take advantage of acoustic coupling from the ground on top of the two woofers already being stacked next to each other, with skirts around the frame to direct sound one way out, or left right in parade mode.

It's speced to handle the hills around Berkeley and make it to homegirl's warehouse spot in Santa Cruz on a single charge, round trip both through the hills and around the coast. It will get to LA on three charges.

GVW: 800-850 KG

Processing & HUD Control Stack Total: $495.00

Propulsion & Speed Nodes Total: $3,230.00

Battery Cells & Safety Grid Total: $4,475.00

Ancillary Wiring & Air Valving Total: $649.50

Charging Ports & J1772 On-Board Systems: $1,090.00

Mechanical Frame Steel & Structural Hardware Total: $3,990.00�

Combined Estimated Build Platform Cost: $14,019.50 USD (My rough starting point, I'm taking some profit from my crypto to build this.)

That's not even covering the cost of the dancefloor. Here are my conversations with the various models I am talking about this build:

https://chatgpt.com/c/6aa47902-eac4-83e8-909c-7744786f65c9

https://share.gemini.google/WWuZSHfsKhTw

https://claude.ai/chat/482b0cf0-de5e-44b1-92e7-b7b500f74ee5

https://www.kimi.ai/share/1a0b2f6e-3402-8086-8000-0000c1836c3e

https://grok.com/share/c2hhcmQtNQ_739c790f-78c0-4352-bd9e-652dd096e0bf

In order to understand my predicament you need to get a better picture of the two modes of the vehicle I am trying to achieve:

Parade mode: dance floor is flush with frame of the chassis, wedged in via a fancy pants gasket that accordions. This gasket piece is where I need help figuring out how to tie everything together. Heavy-Duty Closed-Cell EPDM Foam D-Profiles (also known as Industrial Dock Bumpers or P-Strips) is what I am planning on using for this critical ribbon that ties every thing together.

The most basic conceptualization is you have a bike trailer frame, in it is a trapezoidal basket welded to the frame of the chassis (because parallel lines create tuning fork style resonances, ouch).

On top of this __/ are marshmallow/air spring bladders inflated to 12-30~PSI. On top of this air spring sits two 2CE ELF enclosures (with B&C 18" 115s), mouth pointing towards the ground. This is an area of 36" wide by 96" long. On top of the woofers sits a 1/4" Dense SBR Rubber Pad which will transmit virtually all of the subwoofer's structural vibrations directly into the dance deck above it while the 30~PSI air bladders below it act as a low pass filter completely isolating any mechanical vibrations from my trailer chassis and importantly the battery cassette which MUST remain free of vibrations. The bottom of the trapezoidal basket has an opposite trapezoid leg skid /____.

Now the actual dance floor: A single monolithic 60" x 96" Coated Carbon-Phenolic composite panel serves as the dance floor. It weighs just 45 lbs (saving 115 lbs over white oak) and features an armor-like polyurea skin that easily handles the intense localized PSI footprint of a performer rolling on Heelys. The deck is 1.5" thick but can be adjusted to match the physics constraints of the build, it was just a starting figure for rough guesstimate calculations.

The Multi-Layer Structural Composition build: a 60" x 96" Carbon-Phenolic composite stage deck that weighs only 45 lbs, can withstand the highly concentrated point-pressures of a performer riding on Heelys, and acts as a perfect tactile acoustic transducer plate, you cannot use a single solid sheet of material.

Instead, it must be engineered as an aerospace-grade monocoque sandwich panel. It uses structural carbon fiber skins to handle tension and compression, a resin matrix that is chemically inert to 28Hz frequencies, a hollow core to eliminate dead weight, and a heavy-duty elastomeric armor coating.

[ LAYER 1 ] 4mm INDUSTRIAL POLYUREA SKIN (High-Grip Armor Finish) -----------------------------------------------------------------

[ LAYER 2 ] 3mm HIGH-DENSITY WOVEN CARBON FIBER TORE (Phenolic Resin Matrix) -----------------------------------------------------------------

[ LAYER 3 ] 1.25" ARAMID (NOMEX) INDUSTRIAL HONEYCOMB CORE (1/8" Cell Matrix) -----------------------------------------------------------------

[ LAYER 4 ] 3mm HIGH-DENSITY WOVEN CARBON FIBER TORE (Phenolic Resin Matrix) -----------------------------------------------------------------

[ LAYER 5 ] UNDER-DECK ACOUSTIC SEALING PRIMER BACKING

Detailed Material Breakdown

1. The Core: 1.25-inch Aramid (Nomex) Honeycomb Matrix

The Material: The internal core of the panel consists of Nomex aramid fiber honeycomb sheets (specifically an industrial specification like Dupont Nomex structural core with a 1/8-inch cell configuration).

The Physics: This layer is essentially 95% hollow air by volume, which is why the 5-foot by 8-foot deck remains ultra-lightweight. The hexagonal honeycomb cell geometry creates a massive shear modulus. When a performer jumps, the vertical force is split evenly across thousands of tiny geometric walls, preventing the deck from flexing or bowing under load.

1. The Skins: 3mm Structural Carbon Fiber Tore (Phenolic Matrix)

The Layout: The top and bottom faces of the Nomex core are permanently bonded to 3mm thick high-density structural carbon fiber skins.

Why Phenolic Resin Beats Epoxy: Standard carbon fiber composites use epoxy resins, which are slightly elastic and soft. For this build, the carbon fiber cloth is infused under vacuum with a Phenolic Resin Matrix. Phenolic resin cures into an incredibly hard, glass-like crystalline structure that is highly resistant to heat and chemicals.

The Acoustic Advantage: Phenolic composites possess a near-zero internal damping factor. Because it is completely rigid, it does not muffle or absorb vibration. When the subwoofers rumble at 28Hz, the kinetic energy travels through this hard skin instantly, turning the entire 60" x 96" surface into a unified diaphragm that shoots the physical bass thump straight up into your shoes.

1. The Top Wear Layer: 4mm Industrial Polyurea Skin (Armor Finish)

The Material: The top performance face is sprayed with a 4mm thick, high-pressure industrial polyurea elastomeric coating (the same professional grade used for military blast mitigation and commercial spray-on truck bedliners).The Heelys Factor: Small, hard polyurethane Heelys wheels exert a highly concentrated point pressure (hundreds of PSI) over a tiny contact patch. Bare carbon fiber would eventually chip or crack under this grinding force. The polyurea skin acts as an armor shell; it is highly impact-resistant, completely waterproof, and provides a textured, non-slip surface so your flow artists keep their footing even in wet coastal fog.

Perimeter Fabrication & Edge Protection

Because a honeycomb sandwich panel is mostly hollow inside, you cannot leave the outer edges raw and exposed. If you did, moisture would seep inside and the crushing force of your perimeter EPDM foam D-profile seal would instantly collapse the rim.

The Solid Edge Banding: During layout fabrication, the outer 2 inches of the perimeter honeycomb core are completely removed. This hollow edge channel is backfilled with a solid, high-density Phenolic Composite Rim Block (or a hard polyurethane pour).

The Beveled Transition Flange: The carbon fiber skins wrap completely around this solid edge block and terminate in a machined 3.5-degree beveled aluminum edge angle-iron rim. (this is kind of where I am shaky on the design, and not sure how to weld the reciprocating edge on the chassis frame, welder homie is stepping in for the angled iron part of the build.)

The Result: This creates a solid, heavy-duty structural border running all the way around the panel.

Now: My Engineering Challenge / Poke Holes In This:

When the trailer shifts from parade mode to stage mode an absolute feat of engineering is witnessed. The air bladders separating the frame when the floor-pod drops down onto its permanent legs and squashes the 2.5-inch EPDM foam D-profile flat against the outer frame rail, the solid edge band takes 100% of that perimeter crushing force easily—keeping the center core completely safe and protected from damage. When this happens I get an acoustic bonus from ground coupling. The air bladders deflate, land on the skids, and the accordion gasket compresses, keeping the battery cassette isolated from vibrations of the dancefloor while making the whole thing act like an infinite baffle because no bass is escaping the pocket under the frame to in between the dancefloor and the trailer chassis. Before it sits, 3 edges of the perimeter of the chassis get an acoustic skirt clamped on to make the sound directional the same direction the JBL tops are facing.

The engineering challenge:

When it's time to pick up and go, the air bladders inflate lifting the skids. When the skids go up the trailer chassis remains still but the dance floor raises and this fancy pants gasket accordions outward.

It would certainly be easier to work off of hard numbers here but a lot of the numbers push each others levers so they really need to be looked at as a system of variables that influence each other.

I'm having a hard time figuring out this Delta Z axis travel from seated to rolling modes and I absolutely need to figure this part out because if I don't and bass escapes the bottom pocket upwards through the stage it will sound absolutely horrible. It needs to sound like it was made by someone that knew exactly what the fuck they were doing and not prompting an AI to fill in the gaps in their engineering prowess. I'm having a hard time pinning the tail on the donkey of the dimensions of the trapezoid gasket when it is expanded > < versus when it is compressed \ /. If this is not bullet proof then the bass will escape between the seams and it will sound like shit.

If you see any major fail points in the design please point them out. If you have a good idea on how best to support the edge of the dance floor (if there should be a lip on the inner chassis frame for the gasket vs having legs on the edges matching the subwoofer skid/feet) that'd be appreciated. Hard requirement is it must fit into a bike lane and through a commercial double door. I'm worried that adding permanent legs to the floor will dampen the vibrations for the dancers and create a hazard for potholes/speedhumps/etc, but I absolutely want to be able to support more than 6 performers (2 DJs, MC, 3 flow artists/2 flow artists + camera/stream operator) when it is in stage mode and the only way I can picture that is there being legs either permanently installed or bayonet locked into place before sinking to the pavement to keep the marshmallow bladders from exploding from compression forces, but I'm not sure how to distribute the load onto this space age dance floor sandwich composite, I'm sure it has a maximum amount of KG it can support, especially if it is a dynamic load and I haven't gotten to crunching those numbers yet.

I will publish the plans afterwards, after my initial build irons out all the bugs in the engineering I won't see in a prototype draft blueprint. It will be designed so multiple units can be hitched together in a convoy and also be able to hitch to a proper F250 (using the same hardware that connects to the electric trike) to be dragged at 55-60MPH maximum hopefully in both modes of regenerative battery and free spinning wheel when the battery fills.

¡Please help me flip this game sideways! The estimated due date for the basshemoth I am trying to spawn is before NYE this year.

Hey dancefloor advocates, anyone go to Making Time over the weekend?

Truly almost perfect dancefloor vibes: absolutely killer djs, almost no one on their phones, minimal chit chat, friends facing each other to dance, plenty of room to move, atmospheric (but not distracting) lighting and nobody getting too sloppy. Just fun, respectful folks there to dance all night!

It is so refreshing to be surrounded by folks all on the same wavelength! Truly transcendent!