Clubs, Although illegal, become little artificial paradises. The Loft was an industrial building without licences, emergency exits or leases. Go to the loft but don’t talk about it was a rule of thumb, clubs created a new demand for high quality audio systems pushing the technology further.
The Soul Of Disco Music- Underground vs Mainstream
The Tenth Floor (opened in 1972) added privacy and exclusivity, there was also a dress code for the 500 capacity. However how you dressed and looked was more important than how much money you had. A few months later The Gallery, Le Jardin and The Flamingo among others, however in 1974 The Loft had to close due to licencing issues. The springing up of all these clubs and the increase in popularity led to the blurring of underground and mainstream. The purpose of the underground had been to produce change, however the internal contradiction of trying to bring about social change while still trying to preserve your authenticity is still alive in clubs all around the world, and doesn’t look set to change any time soon.
Vince Aletti: “People did not want to stay underground. They were ready to be recognized.” 1975 was the year of the explosion of clubs, 45 in that year alone in New York. Disco becomes a fashion phenomenon. So called because of its difference in characteristics, between funk soul and anything that could be danced to. Disco becomes big business and soon everyone is trying to get a piece of the action.
On 20 October 1975, nearly a year and a half after it closed, the Loft reopened, after a legal battle to legalize the underground clubs giving legal recognition to the movement and its achievements. The underground worked outside of the mainstream in terms of the music and style, however the underground continued to direct the mainstream, although quickly losing control of the soul and heart of the movement, culminating with the opening of Studio 54.
New York New York
Clubs quickly became more and more impressive and luxurious and revolved around the skill and style of their star DJs. Opened in may 1977, The New York New York was described by the owners Maurice Brahms and John Addison as a “rival (to the) high class of Studio 54” but in fact they never fully challenged, and was really a luxury club for those who couldn’t get into Studio 54. Francois Kevorkian, the DJ in the club lamented the fact that everyone wanted to hear the same 40 songs such as (Donna Summer and the Bee Gees). In June 1978 Xenon was born, and by the end of 1978 there 15 to 20 thousand clubs in the US.
Tim Laurence writes that although clubs generated annual gross revenues of up to 8 billion dollars, very few were of high standard.
New york was considered the capital of Disco, however LA and San Francisco were also centres of the Disco explosion. San Francisco had City Record, Dance Your Ass Off, the I-Beam, the Trocadero Transfer. In the mid 70s, Disco also conquered Japan, and Japanese DJs traveling in the US learned the technique of US DJs. As we have mentioned earlier, disco swept through Europe particularly in Germany and France, with Munich, Paris, Hamburg and Frankfurt all being home to many famous clubs such as Trinity, Blue Bell and Life1 in Hamburg, Edith and Why not? in Munich and Biba in Frankfurt. In France there are about 3500 clubs, including the Palace of Paris. although the penetration of Disco could not breach the Iron Curtain into the east. In 1978 Paradise Garage opened, and with a great intense atmosphere and a higher quality sound system managed to break the stranglehold that Studio 54 had had on the top of the New York Clubbing scene.
Mel Cheren: “The Loft was where the seed was planted for the Garage”. Larry Levan, the DJ of the club, managed to turn every piece that he played in a hit. The Garage incorporated many of the basic principles, of The Loft, revising them for the purpose of “commercial success”. Mancuso: ” The Garage marketed everything to the maximum. They used every loophole and took advantage of the underground scene.” However The Loft and The Garage had many similarities such as its appeal to those on the outside of respected society, such as Ethnic Minorities, and The Gay scene, the presence of music for dancing and the intimate atmosphere. It was however not quite as intimate, due to it being so much bigger.
Gomes: “The Paradise Garage was a showcase. It became the Studio 54 of Blacks and Latinos.” Levan was eclectic, played Rock, Dub, Jazz, R&B and Disco. The rhythm varied from 98 bpm up, and he played every song with the intention of making the crowd dance. Levan was the most popular DJ of the time, although many think that his skill arose in mainly in the quality of the sound system of lofty Garage. Levan was a bold proformer on the decks, and a great showman: reinterpreting songs, making long pauses and then hangs up, to involve the crowd in the show! Levan said explicitly that his style was based on Siano, Mancuso, and D’Acquisto. At the Paradise Garage, Levan became famous, it exploded in popularity, with Levan as the protagonist, people worshiped everything he did. However, according to many DJs, Mancuso and Siano had a magic and a touch that Levan can not reach, despite his talent.