Joshua Winkelman (born April 20, 1970), better known by his stage name Josh Wink, is an American electronic dance music DJ, label owner, producer, and remixer. He is a native of Philadelphia, United States.<ref>IMO Records. "Josh Wink Biography", IMO Records' Retrieved on 29 February 2011.</ref> A pioneering DJ in the American rave scene during the early 1990s, Wink was the most prominent exponent of the tribal forms of techno and house in the U.S. In 1995, he released several hits, including "Don't Laugh" (as Winx), "I'm Ready" (as Size 9) (which hit number one on the U.S. Hot Dance Club Play chart), and "Higher State of Consciousness," which topped the dance charts in Europe. He has had many club hits such as "How's Your Evening So Far?" (samples Lil Louis's "French Kiss") and "Superfreak (Freak)" and has also gained much attention for his remixes of Stabbing Westward, FC Kahuna, Paul Oakenfold, Moby, Towa Tei, Ladytron and Depeche Mode, among others. Early life As a youth, Wink studied the piano for three years and took clarinet lessons as a teenager. His interest in DJing began as a 13-year-old, when he became apprentice to a friend, a radio station and mobile DJ in Philadelphia. It was at this time that Wink also became a vegetarian, following in the footsteps of his mother and brother. As a teen, he quickly gained familiarity with DJing equipment and taught himself how to mix beats in 1986. By 1988, Wink had met fellow DJ King Britt, and the two began creating original tracks together. 1988 was also professionally significant for Wink in that he turned eighteen, and was then able to work as a DJ in nightclubs. Style Wink's current style is a mixture of acid house, drum and bass, and experimental music. In interviews, he has stated that his music is "built around tension", and that his work is often influenced by "mistake theory, which is: I use a lot of things that you and I might consider mistakes....by (experimenting) with effects, with filters, with percentages in my sampler, and just doing stuff that you wouldn't ordinarily do." In 1996, Rolling Stone writer Frank Broughton observed that "a Josh Wink record takes a series of sampled noises, then twists and warps them through a barrage of sound processors, resulting in a spiraling blend of acidic bass lines and trippy break beats." Another reviewer referred to