Wednesday, June 27, 2007
The anarchist Emma Goldman (1869-1940) is perhaps best known today for one quote attributed to her: 'If I can't dance I don't want to be in your revolution'. It seems that she never actually said these words, but in her autobiography Living My Life her joy in dancing is obvious.
At one point she recalls her first ball in St. Petersburg, aged 15: "At the German Club everything was bright and gay... I was asked for every dance, and I danced in frantic excitement and abandon. It was getting late and many people were already leaving when Kadison invited me for another dance. Helena insisted that I was too exhausted, but I would not have it so. "I will dance!" I declared; "I will dance myself to death!" My flesh felt hot, my heart beat violently as my cavalier swung me round the ball-room, holding me tightly. To dance to death - what more glorious end! It was towards five in the morning when we arrived home".
After moving to the United States, she was involved in supporting a strike by Jewish women cloakmakers in New York's East Side in the 1890s, including dances for the strikers: 'At the dances I was one of the most untiring and gayest. One evening a cousin of Sasha [Alexander Berkman], a young boy, took me aside. With a grave face, as if he were about to announce the death of a dear comrade, he whispered to me that it did not behove an agitator to dance. Certainly not with such reckless abandon, anyway. I grew furious at the impudent interference of the boy. I told him to mind his own business, I was tired of having the Cause constantly thrown into my face. I did not believe that a Cause which stood for, a beautiful ideal, for anarchism, for release and freedom from conventions and prejudice, should demand the denial of life and joy. I insisted that our Cause could not expect me to became a nun and that the movement should not be turned into a cloister. If it meant that, I did not want it. "I want freedom, the right to self-expression, everybody's right to beautiful, radiant things." Anarchism meant that to me, and I would live it in spite of the whole world - prisons, persecution, everything. Yes, even in spite of the condemnation of my own closest comrades I would live my beautiful ideal'.
Later in New York, Goldman met the veteran Russian revolutionary Catherine Breshkovskaya known as Babushka: 'At the Russian New Year's ball we greeted the advent of 1905 standing in a circle, Babushka dancing the kazatchokwith one of the boys. It was a feast for the eyes to see the woman of sixty-two, her spirit young, cheeks ruddy, and eyes flashing, whirling about in the popular Russian dance.'
So even if 'Red Emma' didn't say the exact words put into her mouth on posters and t-shirts, it would seem that they were a fair enough representation of her stance.
The picture of Emma Goldman was taken in around 1886 shortly after she left Russia in the wake of anti-semitic pogroms.
Monday, June 25, 2007
Across town at The Works nightclub in Kingston, South West London, 23 year old Mikey Brown was stabbed to death.
Of course it's not just a London thing - in Miami a 15 year old has been charged with shooting dead Samuel Brown, 16, and Michael Bradshaw, at a party at the city's Polish American Club. Every weekend all over the world there are people being stabbed, shot, raped or beaten to a pulp at nightclubs and parties or on the way home afterwards.
On this site I try to focus on the positive possibilities of people coming together for music and dancing, but despite what I sometimes say I know that parties and gigs aren't really Motherships that lift people away from everyday life (or at least not always). All the shit of this society - violence, machismo, nihilism, addiction, despair - is played out on the dancefloor just like everywhere else. I don't have any great analysis of this, let alone solutions - do you?
Sunday, June 24, 2007
I went to the degree show at Camberwell College of Arts yesterday and was struck by Georgia Rodger's video piece Blinkers Instrument, with its image of a woman plucking at a harp-like instrument physically connecting her eyes and her thighs.
The artist explains at her website: "In the gendered system of musical instrument classification, string instruments are Apollonian - external, public and masculine. In my contemporary response to this subject instead of the string instrument being representative of the external it is internalised and made bodily (as opposed to being worldly) by the player's elongated eyelashes becoming the plucked strings of the instrument. Compounding my subversion of traditional expectations, the blinkers cut off the player's visual perception of the world and force them to become more aware of the internal world. In respect to gender this feature also forces the aversion of the female player's gaze whilst super feminizing her by the ridiculous extension of her lashes". It put me in mind of Joanna Newsom (right) - well obviously she plays the harp, but also perhaps explores a similar territory of the boundaries between private introspection and public performance.
Saturday, June 23, 2007
The occasion was apparently an event to remember the 25th anniversary of the Falklands War. The crowd in Whitehall and around Buckingham Palace was the opposite of the diverse crowd of New Londoners gathered on the other side of the river - mainly white and looking back nostalgically to past imperial adventures. A crowd that cheered Margaret Thatcher in a ceremony that 'concluded with the massed ranks singing Rod Stewart's contemporary hit I am Sailing, with rear admirals, former squaddies, Prince Charles and the prime minister's wife seen joining in'.
The Falklands/Malvinas conflict was a squalid affair. On the one side was the fading Argentinian military dictatorship facing growing unrest, on the other a Conservative government in its first term of office keen to blood its armed forces and rally patriotic support after a year of mass unemployment and urban riots. Over 900 people died in an argument about which flag would fly over a sparsely populated group of islands in the South Atlantic.
The short but bloody war inspired a number of songs, the best of which is undoubtedly Shipbuilding, written by Elvis Costello and Clive Langer for Robert Wyatt, and later recorded by Costello himself on his Punch the Clock album. This lament links the war, unemployment and industrial decline, featuring the lump-in-the-throat lyrical gem 'diving for dear life, when we could be diving for pearls'.
The Argentinian Junta had been sold British arms prior to the conflict, a point highlighted by Billy Bragg in his Island of No Return: 'I never thought that I would be, Fighting fascists in the Southern Sea, I saw one today and in his hand, Was a weapon that was made in Birmingham'. Bragg had only bought himself out of the army in 1981, so had had a lucky escape from being dispatched 'to a party way down South'.
The most sustained assault on the war and its instant mythology came from Crass. When How Does It Feel To Be The Mother of 1000 Dead? was released in 1982 there were calls in Parliament for it be banned. It is a fairly straightforward anarcho-punk anti-war rant with lyrics like 'Throughout our history you and your kind have stolen the young bodies of the living to be twisted and torn in filthy war'. The following year's Sheep Farming in the Falklands is more specific, sticking the boot into 'Winston Thatcher', The Sun newspaper and the monarchy: 'The Royals donated Prince Andrew as a show of their support, was it just luck the only ship that wasn't struck was the one on which he 'fought'?" Their most audacious act was to feature a picture of Falklands 'hero' Simon Weston on their album Yes Sir I Will. The title came from the badly-burned Weston's reply to Prince Charles wishing him to 'get well soon'. For Crass such apparent servility to crown and country simply meant obedience to the war machine.
There were other punk efforts. The Exploited released Let's Start a War (said Maggie one day), while New Model Army's Spirit of the Falklands saw the war as a cynical diversion from the home front: 'The natives are restless tonight sir, Cooped up on estates with no hope in sight, They need some kind of distraction, We can give them that'.
Rod Stewart's Sailing wasn't written for the Falklands (it actually came out in 1977), but this dreadful dirge has twice been pushed into the patriotic service. As well as being adopted as an unofficial anthem for the Navy in the Falklands War, it was also the record that was officially declared as the Number One Single in the Queen's Jubilee Week 1977, widely believed to have been a ploy to disguise the fact that the best selling record was actually The Sex Pistols' God Save the Queen.
Thursday, June 21, 2007
Andy Worthington's excellent book 'Stonehenge: Celebration and Subversion' is the counter-cultural history of people's efforts to gather there. The state's brutal crackdown on the Stonehenge Free Festival in the mid 1980s is covered in depth, culminating in the infamous 'Battle of the Beanfield' on 1 June 1985 when riot police battered and arrested 420 travellers in a field in Wiltshire. The various Druid groups celebrating there are also documented.
Less familiar to me were the gatherings at Stonehenge earlier in the 20th century. A report from 1930 stated that 'Girls and boys danced by the lights of motor-cars which lined the road to the music of gramophones and a complete jazz band'. The following year 'Some erected portable tents by the roadside. Music was provided by several gramophones at various points outside of the enclosure and minstrels enlivened the vigil with mandolin selections'. He includes a great photo from the 1963 summer solstice of crowds including druids inside the stones with 20-odd sharply dressed mods looking down from the lintels.
Wednesday, June 20, 2007
The last couple of weeks have been particularly busy. On Sunday, the Celebrating Sanctuary event took place as part of Refugee Week, gathering 'together established and emerging refugee musicians, dancers and artists to celebrate the positive cultural contribution of refugees to the UK'. At the two outdoor stages and a large yurt, I caught performances by The Destroyers, a Birmingham-based Balkan dance band, the Ahwazi Group, playing music from the Arab minority in Western Iran, and some Armenian dancing. As stated on the festival website, 'In music there are no borders. When you have no borders, you have no refugees.’
The weekend before saw the official reopening of the Festival Hall after its refurbishment. On the terraces outside we saw up and coming South London appalachian enthusiasts Indigo Moss and Billy Bragg doing a set of buskers standards such as Goodnight Irene and Underneath the Arches.
Outside of the official programe and further along the river, No Fixed Abode managed to get a sound system down on to the sand at low tide for a free party (pictured). There have been Reclaim the Beach events here since 2000.
Monday, June 18, 2007
Other clubs he was linked to included 'Studio 51, a jazz club where the new bebop was played' after World War Two; the 2-Way Jazz Club (from 1952); the Blue Room (also 1952), featuring modern jazz; The Star in Wardour Street; Club Basic in Charing Cross Road; and Leicester Square's Mapleton hotel. The latter became an all-nighter called Club Americana in 1955 , and Gunnell started extra nights there as Club M which became popular with 'African-American servicemen based then in Britain; and 'Caribbean and African settlers of the Windrush generation'. He moved to the Flamingo in 1958; when it closed in in 1967, Gunnell took over the Bag O'Nails in Kingly Street.
Good stuff on 1960s British r'n'b and soul at Brown Eyed Handsome Man.
Sunday, June 17, 2007
USA: Parents jailed for son's party (source: The Hook, Charlottesville, 14 June 2007)
Two parents were jailed for 27 months for serving alcohol to teenagers at their son's party in their own home in Charlottesville. Police raided the party back in 2002, after a long drawn out court process George Robinson and Eliza Kelly started their sentences last week. The parents had wanted to have a safe party at home to prevent the far greater risk of young people drinking and driving elsewhere. This is after all the country where most people can drive by age 15 1/2, own a firearm at any age, join the Army at age 17, and buy cigarettes at 18 - but not have a drink until they 21.
Thailand: Police Check North Pattaya Disco (Pattaya City News, 9 June 2007)
'At 3:00am on Saturday, Khun Prateep, the chief of the Banglamung District, accompanied by his officers as well as local police raided a popular entertainment venue on Second Road in North Pattaya. Their aim was to check the licensing of the large disco-cum-nightclub as well as checking the ID’s of patrons and staff and searching for illegal substance use.The Banglamung officials said all the licenses were in order and no underage revelers or staff were found, although three customers, one Thai man and two Thai ladies, failed the test for the presence of methamphetamine in their systems. The three were taken back to Soi 9 station for further investigation'
A week of demonstrations greeted the G8 summit of world leaders in Heiligedamm at the beginnng of June, with sound systems to the fore in a number of protests. A 'Street Rave' was held as protestors blockaded the road and railway at the East Gate of the summit site for 36 hours. In Rostock, a Reclaim the Streets party was broken up by police, whilst a demonstration in support of migrants rights ended with 1000 people defying a police ban to follow a sound system to gather at the city's harbour (picture left).
Wales: Cops raid rave in the forest (Denbeighshire Free Press, 14 June 2007)
'NORTH Wales Police pulled the plug on an illegal rave at Clocaenog Forest, involving party-goers from the Merseyside area. Officers were informed of a rave by residents living near the forest on June 8. A team of local police officers, supported by colleagues from Rhyl and Colwyn Bay travelled to the site to service a notice to quit to 30 people who had gathered for the rave. Clocaenog Forest has become a popular site for staging illegal raves, otherwise known as free parties, during the summer months over the years.
Saturday, June 16, 2007
Thursday, June 14, 2007
"The Twist, superseding the Hula Hoop, burst upon the scene like a nuclear explosion, sending its fallout of rhythm into the Minds and Bodies of the people. The Fallout: the Hully Gully, the Mashed Potato, the Dog, the Smashed Banana, the Watusi, the Frug, the Swim. The Twist was a guided missile, launched from the ghetto into the very heart of suburbia. The Twist succeeded, as politics, religion and law could never do, in writing in the heart and soul what the Supreme Court could only write on the books. The Twist was a form of therapy for a convalescing nation..
They came from every level of society, from top to bottom, writhing pitifully though gamely about the floor, feeling exhilarating and soothing new sensations, release from some unknown prison in which their Bodies had been encased, a sense of freedom they had never known before, a feeling of communion with some mystical root-source of life and vigor, from which sprang a new appreciation of the possibilities of their Bodies. They were swinging and gyrating and shaking their dead little asses like petrified zombies trying to regain the warmth of life, rekindle the dead limbs, the cold ass, the stone heart, the stiff, mechanical, disused joints with the spark of life.' (Eldridge Cleaver, Soul on Ice, 1968).
Monday, June 11, 2007
1. Can you remember your first experience of dancing?
Country dancing and maypole dancing at primary school, aged around 7, is very vivid. I know I must have skipped around before that, as my parents used to play a lot of folky music and go to hippy festivals (Albion fairs), but I don't really remember dancing at home that early. The country dancing is vivid because of the expansiveness of it in space, the need to learn so many details, the need to interact with fellow children.
2. What’s the most interesting/significant thing that has happened to you while out dancing?
Dancing under the stars at a festival was revelatory because I wasn't dancing (embarrassedly and unsuccessfully) to attract anyone for a change, and realised it didn't have to be that way.
3. You. Dancing. The best of times…
Indoors, on my own or with family, expressively and without self-consciousness, with our disco ball on. I think 'wow, if other people could see me they'd say 'you're a really good dancer' ' Sometimes I leave the blinds up a bit and wonder if anyone can see in.
4. You. Dancing. The worst of times…
At a ceilidh a few years back. I thought all that country dancing at school would pay off. I was rubbish. I'm just not able to follow rules where the body is concerned. I can't count and know my left from right and keep moving and be graceful. I kept thinking 'If they could see me in my living room on my own, they'd think 'she can dance, actually.' '
5. Can you give a quick tour of the different dancing scenes/times/places you’ve frequented?
- Country dancing 7-11 at school (quite a lot, it was a tiny Norfolk school, and my mum taught there, and she is a music teacher & folky)
- Dancing to Abba with friends in our living rooms, aged 9-11
- Early experience of school discos in the giant hall at North Walsham Girl's High School. Mostly girls, sometimes all girls. 1977, Frigging in the Rigging, the headmistress is called and pulls the plug on the music system. Discovering new kinds of music around 1979-1980 was very formative. I liked all that bouncing around to punk and Madness.
- Then, late night discos in North Walsham, Cromer, Mundesley etc, every Friday night. 1980-1982. Discovery of boys and snogging. Dancing was all about getting that. It was really scary and where my dancing insecurities were born. Besides, I've always had trouble hearing at all against music, so would get really anxious as I couldn't dazzle with conversation. The more pernod and black I had, the more I could dance.
- Sixth form 1983-85 - was very arty & Gothy, quite a lot of time was spent at gigs, not always dancing. But when I did, lot's of moody arm-swinging Morrissey style.
- 1985-1992 - Long period here of studenty-grungy-ness, but with increasing sophistication. I went through an unfortunate phase of being involved with bikers & heavy metal - used to go to Hungry Years in Brighton for head-banging (picture right, from here). The horrified 'what-was-I-doing?' reaction from that was to get into retro basement Latin Jazz clubs, frequented by some really snazzy dancers in cocktail dresses. People didn't used to dress up so much like that then. I used to feel humbled & very unglamorous.
- 1992 - I started working such long hours and moved to London I stopped going out, dancing was occasional and home-based, or the odd single-song boogie.
- 2005 - Discovered that my daughter has a great talent & enthusiasm for dancing - we dance together. She wants to be Madonna. Feel happier about dancing when I go out now, especially if she's with me. We just went on holiday, where they had music shows most nights and we had a great time dancing to tacky music.
6. When and where did you last dance?
Last night, to some home made rhythms with my 7 year old. Trying to show her what syncopation meant.
7. You’re on your death bed. What piece of music would make your leap up for one final dance?
Probably something Latin by Tish Hinojosa or Joyce, but if I was living entirely in my childhood memories by then, then probably Dancing Queen.
Previous Questionnaires here. If you would like to complete on, please see box to right.
This is an extract from the 1929 silent movie, Piccadilly, featuring a dance sequence with two of the film's stars, Gilda Gray and Cyril Ritchard. The nightclub used in the film was The Cafe de Paris, still going today despite a bomb landing on the dance floor in 1941 and killing 80 people.
Thursday, June 07, 2007
The LGA, which speaks on behalf of local authorities, states that 'War will be waged against illegal ravers'. It has put together a plan for councils including a mixture of carrot and stick:
'• If an illegal event is being organised help the organisers apply for a temporary event licence on suitable land and within the confines of the law;
• Work with the police and local landowners; set out plans and powers, such as injunctions and seizing of sound equipment;
• Gather intelligence of future events by scanning the internet and by visits to pubs and clubs where messages and event flyers can be found;
• Ask landowners and residents to remain vigilant, particularly around festival days and bank holidays.
• Consider setting up designated ‘free party’ sites to avoid damage to the countryside and a hotline for the residents to call if they have concerns about illegal events taking place'.
All of this effort is justified on the basis that raves 'cause irreparable damage to the countryside and ruin the lives of local residents whilst putting their own lives at risk'. Is this true? Sure these events can be annoying for some, and there are sometimes idiots in attendance who do stupid things. But events often take place in the middle of nowhere with no real damage.
Last weekend for instance 'police were prevented from stopping an 18-hour music event attended by more than 400 people in a forest near Swaffham. Under the Criminal Justice and Public Order Act 1994 a rave must involve at least 20 people trespassing on land and playing loud amplified music while causing serious distress to local residents. Norfolk Police said they could not act against the gathering because it was in a remote location and could not meet the criteria of causing any distress to residents' . As for damage, the alleged cleaning bill of £500 for 'a massive rave at the Horsey Gap beauty spot' (also in Norfolk last month) hardly suggests a 'trail of destruction' and certainly nothing like the damage routinely caused by the army on Salisbury Plain and other parts of the countryside, let alone the permanent devastation of green space by council-licensed developers all over the country.
Monday, June 04, 2007
It includes recordings of Gagarin entering the spaceship ("In a few minutes I shall be launched into outer space in a powerful cosmic ship") and from the trip itself, not to mention some bars of the song that Yuri Gagarin sang during his return to earth - the first song to be sung in space (apparently it was The Motherland Hears, the Motherland Knows, tune by Shostakovich) . Unfortunately its not actually Gagarin's version on the record.
Obviously the record is very much a project of the Cold War, complete with a speech by Krushchev and Gagarin thanking the Central Committee of the Communist Party of the Soviet Union. But it is an also an artifact of a more optimistic period in which human subjectivity seemed to be expanding and the Situationist International declared that 'Humanity will enter into space to make the universe the playground of the last revolt: that which will go against the limitations imposed by nature. Once the walls have been smashed that now separate people from science, the conquest of space will no longer be an economic or military “promotional” gimmick, but the blossoming of human freedoms and fulfilments, attained by a race of gods. We will not enter into space as employees of an astronautic administration or as “volunteers” of a state project, but as masters without slaves reviewing their domains: the entire universe pillaged for the workers councils' (I'm not sure about the pillaging bit, but agree with the spirit).
Well so far the future hasn't worked out as planned - no leisure society, no moonbase alpha -but some of us are still hopeful.
A couple of MP3s to download if you're so inclined, one of this record and another featuring a sample from it - the latter a track put together by me and Jason Aphasic under the moniker Roteraketen for the AAA compilation 'Rave in Space' (must admit my main musical contribution was bringing the sample)
Conquest of Space - Yuri Gagarin (1961) - MP3
Roteraketen - Here to Go (2000) -M4A
Sunday, June 03, 2007
I began accumulating this collection when I was part of the Disconaut node of the AAA (1995-2000). The premise of the AAA was a global network committed to challenging the state and corporate monopoly of space through the development of community-based space exploration programmes. Within this network, Disconaut AAA focused on dance music as a vehicle for space exploration. Some of the Disconaut material from our Everybody is a Star! newsletter is archived at Uncarved, but the full story of the AAA remains to be told - and maybe the story isn't finished yet, as AAA Kernow (not unconnected to Nocturnal Emissions) apparently relaunched itself last month. I have reflected on the AAA experience elsewhere and will be considering all of this further at this site, but for now here's the founding text of Disconaut AAA:
Disconauts are go! (from 'Everybody is a Star!', no.1, 1996)
Forget Apollo, NASA and the Space Shuttle... the most exciting explorations of space in the last 30 years have been carried out through music.
Emerging on the radical fringes of jazz in the 1950's Sun Ra (1914-1993) and his Intergalactic Research Arkestra (as his band was later known) set the space vibe in motion with interstellar explorations like 'Space Jazz Reverie', 'Love in Outer Space', 'Disco 3000', and the film 'Space is the Place' [picture is of Sun Ra in film].
Described by one critic as "a comic strip version of Sun Ra", George Clinton developed his own funky cosmic Afronaut mythology in the 1970's through his work with Funkadelic and Parliament. For instance, the album "Mothership Connection" (1975) is based around the concept of aliens visiting earth to take the funk back to their own planet.
Sun Ra and Clinton's work can be read as a sort of sci-fi take on Marcus Garvey. While Garvey dreamt of Black Star Liners shipping back people from slavery across the ocean to an African utopia, they leave the planet altogether.
Space continued to be a preoccupation during the 1970s disco boom. Derided by rock critics for its lack of serious content, disco had a distinct utopian element. In disco the intensity of pleasure on the dancefloor was reimagined as an ideal for living rather than just a Saturday night release. The implicit fantasy was of a 'Boogie Wonderland' where music, dancing and sex were organising principles rather than work and the economy. "Lost in music, feel so alive, I quit my nine-to-five", as Sister Sledge put it.
In the unpromising social climate of the 1970's, this wonderland was sometimes projected into space. Earth, Wind and Fire (who recorded 'Boogie Wonderland') combined elements of Egyptology and sci-fi with albums like 'Head for the Sky' (1973) and 'All n All' (1977) with its cover pic of a rocket taking off from a pyramid. In the late 1970s there was a rash of space themed disco hits like Sheila B. Devotion's 'Spacer' and Slick's '(Everybody goes to the) Space Base' (1979), the latter imagining the space base as disco and social centre rather than military-industrial installation.
Some of these space records can be viewed as simple cash-ins on the popularity of Star Wars and similar films of this period, but was there something deeper going on? While the sale of disco records reaped big profits for the record companies, the logic of the dancefloor was potentially at odds with the society of domination. On the floor pleasure was elevated above the puritan work ethic and hierarchies of class, race, gender and sexuality were (sometimes) dissolved.
Discos (like today's dance spaces) could have been the launchpad for explorations of different worlds on earth and beyond, powered by the Dance Disco Heat energy on the floor. In this light the disco icon par excellence, the glittering mirror ball, has to be re-evaluated. Detailed archaeological investigations of the alignment of these spheres of light suspended high above the dancefloor will doubtless reveal that they were installed to equip dancers with a rudimentary astronomical knowledge to help them find their way around the universe.
Friday, June 01, 2007
"I want to bring happiness to the Persian community," Mr. Ghahremani said. "Right now dancing in Iran is forbidden, it's suppressed, they don't like that kind of happiness." Ray Negini, a friend, added: "He helped people and has made the children laugh. He is a humorous person who will not be abandoned. No one can replace him."
First ever was probably to some classic rock cover band in the junior high cafeteria. Or was that the gymnasium? But really dancing—for me that started in New Haven , CT , USA around 1979. People danced to the new wave and punk music of the time, but that was where I also began to hear the first Sugarhill records, and to dance to James Brown, Fela, and Parliament/Funkadelic at parties in dining halls or at people’s apartments. This was fun but still essentially random, just college kids messing around.
Connecting with other people. There are certain things that only come out on the dancefloor, and great music takes people far out of themselves. I have met and befriended individuals through going out dancing who have changed my life, and my interest in nightlife has had an impact on my career. But the most significant things that happen while out dancing are the excitement of the moment and the intensity of the memory impressions that it leaves.
Nell’s on West 14th circa 1986-90 had a great, small, dark basement dancefloor. It is perhaps best known as the place where Tupac’s New York sexual assault charges began. Nell’s had a really strict door policy, but it was still done by coolness, rather than how much money people planned to spend. The cover charge was $5, and they took it from pretty much everyone, at least for the first year. For at least the first two full years we had the run of the place on Thursdays, which was the best night. The DJ, who is still working, and is a wonderful dancer, was Belinda, and I am convinced that she was responsible for breaking Eric B. and Rakim to the right people in New York . Her signature song was “For the Love of Money,” she played a lot of hiphop, and it was the most exciting dance floor you could imagine. It often had combinations like Tupac, Kate Moss, a Haitian drugdealer, Prince, his bodyguards, the Beasties, and Linda Evangelista all dancing at the same time in a group of no more than 200. That was fun.
Afterhours at Save the Robots on Avenue B… with real vampires.
New York City , see above, and in Southampton , New York , in the potato barns turned nightclubs of the late 1980s and early 1990s. These parties were good, with mostly pop music, but this is also where I got my earliest exposure to techno. Places I traveled to where dancing occurred include London, from about 1981 on, where I went to whatever clubs I could find in timeout; does anyone remember a place in an old theater that had a raked dancefloor? That was something. So was Leigh Bowery (pictured). I saw a very good Pogues show at the Mean Fiddler in Harlesden in 1986 I think, and I danced to Haircut 100 at the ICA on or around New Years of 1981. Then there’s Los Angeles , where I went to a vintage warehouse rave in the early 1990s with people who would not do that today. LA has a funny dance club/nightlife history, with 80s hair metal giving way to hard house somewhere around 1993, and lots of the same people somehow attending. The most recent great dance scene I have witnessed was in South Beach Miami for Winter Music Conference 2007. Miami has some of the energy of New York back in the day.
I danced on Saturday night at the Wildcat Lounge in Santa Barbara , California to hard contemporary house. It was Memorial Day weekend, a big holiday here, and I felt I saw almost everyone I know, because Santa Barbara is a small town.
Caravan by Duke Ellington.