“Party Time with David Mancuso and the Loft”. Placed, Germany, September 2007.

Introduction reprinted in Loops, 2, 2010, 85-91.

Introduction and interview published in Italian in Nero, 15, February/March 2008.


Like a soup or a bicycle or Wikipedia, the Loft is an amalgamation of parts that are weak in isolation, but joyful, revelatory and powerful when joined together. The first ingredient is the desire of a group of friends to want to get together and have some fun. The second element is the discovery of a room that has good acoustics and is comfortable for dancing, which means it should have rectangular dimensions, a reasonably high ceiling, a nice wooden floor and the possibility of privacy. The next building block is the sound system, which is most effective when it is simple, clean and warm, and when it isn't pushed more than a fraction above 100 decibels (so that people's ears don't become tired or even damaged). After that, the room should be decorated, with balloons and a mirror ball offering a cheap and timeless solution. And because the party might last a long time, and because some friends might be hungry, a healthy spread of food and drink should also be prepared. Finally ¾ and this really is the last thing to get right, and can only follow once everything else is in place ¾ the friends will need someone to bring along some dance records. After that, it's party time.

All of these parts were assembled at 647 Broadway, in the abandoned NoHo district of New York City, when David Mancuso hosted a Valentine's Day party in his loft in February 1970. That party, which soon became known as the Loft, wasn't so much a moment of inception, or the point from which all subsequent events can be traced, as a moment of synthesis in which a number of practices and experiences, some of which can be traced back to a much earlier period, came together in a new form. The children's home where David was taken straight after he was born suggested that families could be extended yet intimate, unified yet different, and precarious yet strong. Sister Alicia, who took care of David and put on a party with balloons and food and records whenever she got a chance, suggested the Loft from another time and space. The psychedelic guru Timothy Leary, who invited David to his house parties and popularised a philosophy around the psychedelic experience that would inform the way Mancuso selected records, was another resonant figure. Co-existing with Leary, the civil rights, the gay liberation, feminist and the anti-war movements of the 1960s were manifest in the egalitarian, come-as-you-are ethos and rainbow coalition demographics of the Loft. And the Harlem rent parties of the 1920s, in which economically underprivileged African American tenants put on evenings to help fend off their landlords, established a template for putting on a private event that didn't require a liquor or cabaret license (and could accordingly run all night because they lay beyond the control of New York's licensing authorities). These streams headed in a multiplicity of directions before meeting at 647 Broadway in February 1970.

The February party didn't have a name, but the homemade invitations carried the line "Love Saves the Day". A short three years after the release of "Lucy In the Sky with Diamonds", the coded promise of acid-inspired things to come was easy to unpick for those in the know, although in this instance Beatles gobbledygook was exchanged with a commitment to universal love. The invitations also reproduced an image of Salvador Dali's "The Persistence of Memory", which now looks like another cryptogram, but didn't resemble one at the time because David hadn't yet had his latent childhood memories of Sister Alicia jogged into Technicolor revelation. Of course the image of Dali's melting clocks wasn't simply random: David was offering his guests the chance to escape the violence and oppression of everyday life, and the idea of entering into a different dimension of time, in which everyone could leave behind their socialised selves and dance until dawn, was intended. "Once you walked into the Loft you were cut off from the outside world," says David. "You got into a timeless, mindless state. There was actually a clock in the back room but it only had one hand. It was made out of wood and after a short while it stopped working."

When David's guests left the Valentine's Day party they let him know that they wanted him to put on another one soon, and within a matter of months they had become a weekly affair. Inasmuch as anyone knew about the events ¾ and few did because they were never advertised, being private house parties ¾ they acquired a reputation for being ultra hip, in part because 647 Broadway was situated in the ex-manufacturing district of downtown New York where nobody but a handful of artists, composers, musicians, sculptors, video film makers and dedicated bohemians had thought about living. They moved in because the district's abandoned warehouses offered a spectacular space in which to live, work and socialise, and the inconvenience of having to hide the kitchen, bedroom and bathroom from view (in order to avoid the punitive searches of the city's building inspectors) turned out to be an innovative way to free up space in order to do things that weren't related to cooking, sleeping and washing. Outside, the frisson of transgression was heightened by the fact that there was no street lighting to illuminate the cobbled streets, and because David didn't serve alcohol, he was able to keep his parties going until midday, and sometimes even later, long after the city's bars and discotheques had closed. "Because I lived in a loft building, people started to say that they were going to the Loft," remembers David. "It's a given name and is sacred."

From the beginning, David looked for ways to improve his sound system because he was convinced this would result in a more musical and intense dance floor experience. He began to invest in audiophile technology and asked sound engineers to help him build gear, including tweeter arrays and bass reinforcements, which David would tweak during the course of the party, sending shivers down the spines of revellers. Yet by the time they come to dominate the increasingly popular discotheque scene of the 1970s, David concluded such add-ons interfered unnecessary with his audiophile set-up and resorted to purchasing increasingly esoteric equipment, including Mark Levinson amplifiers and handcrafted Koetsu cartridges, which he combined with his Klipschorn speakers. "I had the tweeters installed to put highs into records that were too muddy but they turned into a monster," explains David. "It was done out of ignorance. I wasn't aware of Class-A sound, where the sound is more open and everything comes out."

Like the space, the legal set-up and the buffet, the sound system was introduced in order to assist the party dynamic, and as David relentlessly fine-tuned his set-up, the dancing became more free flowing and intense. "You could be on the dance floor and the most beautiful woman that you had ever seen in your life would come and dance right on top of you," says Frankie Knuckles, a regular at the Loft. "Then the minute you turned around a man that looked just as good would do the same thing. Or you would be sandwiched between the two of them, or between two women, or between two men, and you would feel completely comfortable." Facilitating a sonic trail that was generated by everyone in the room, David picked out long, twisting tracks such as Eddie Kendricks "Girl, You Need A Change of Mind" and War "City, Country, City"; gutsy, political songs like the Equals "Black Skinned Blue Eyed Boys" and Willie Hutch "Brother's Gonna Work It Out"; uplifting, joyful anthems such as Dorothy Morrison "Rain" and MSFB "Love Is the Message"; and earthy, funky recordings such as James Brown "Give It Up or Turnit a Loose" and Manu Dibango "Soul Makossa". Positive, emotional and transcendental, these and other songs touched the souls of dancers and helped forge a community.

The influence of the Loft spread far and wide. At the end of 1972 a Broadway regular set up a similarly structured party for an exclusive white gay clientele called the Tenth Floor, which in turn inspired the establishment of Flamingo, the most influential white gay venue of the 1970s. Objecting to the elitist nature of Flamingo's so-called "A-list" dancers, another Loft regular founded 12 West, which was intended to create a more democratic party environment for white gay men. As all of this was unfolding, another Loft regular, Nicky Siano, set up his own Loft-style venue called the Gallery where he mimicked David's invitation system, hired David's sound engineer, and also borrowed a fair chunk of David's dance crowd when the Broadway party closed for the summer of 1973. Richard Long and Mike Stone's SoHo Place along with Michael Brody's Reade Street also drew heavily on David's template. And when both of those parties were forced to close, Brody opened the Paradise Garage, which he positioned as an "expanded version of the Loft", and invited Richard Long, considered by some to be New York's premier sound engineer, to build the sound system. Meanwhile Richard Williams, another Loft regular, moved to Chicago and opened a Loft-style venue called the Warehouse. Having grown up on the dance floor of the Loft, Larry Levan and Frankie Knuckles went on to become the legendary DJs at the Garage and the Warehouse, where they forged the contours of what would come to be called garage and house music. Other spinners such as Tony Humphries, François Kevorkian and David Morales look back on the Loft as an inspirational setting. The Loft, in other words, was an incubator.

Like any party host, David has had to face some unexpected hitches during his thirty-eight year journey. In June 1974 he moved into 99 Prince Street after he was pressured into leaving his Broadway home, and ten years later he bought a promising building in Alphabet City, only to see the neighbourhood slide into a virtual civil war instead of receive moneys promised for regeneration. By the time David was forced to leave a space he was subletting on Avenue B towards the end of the 1990s, things were beginning to look inescapably grim. But before he was vacated that particular space, David received invitations to travel first to Japan and then to London. Initially reluctant to put on a party outside his home, David accepted both offer, and although he experienced some problems, he ended up returning to both Japan and London in order to team up with other groups of friends who wanted to put on regular events. As he went about this work, David stuck to the principles that have driven him from day one: be faithful to your friends, find a good space for a party, seek out the best sound equipment available, and say "thank you" when you're invited into someone's home. In the process, David drew on the life shaping experience of his orphan childhood to realise a profound philosophical lesson: homes can be built wherever you put down roots and build relationships. Returning again and again to Japan and London, David realised his own universal vision, which was previously constricted to New York, but has now captured the imagination of partygoers across the globe.

Shortly after making his first trips to Japan and London, David also hit upon a hall in the East Village that has become the new home of the Loft, and although the parties are now held on holidays rather than a weekly basis, David is convinced the dance floor is as vibrant and energetic as ever. The fact David doesn't live in the space is a little inconvenient in that he has to set up his sound system each time he plays, but even though he doesn't sleep in the hall, he's also more comfortable in his current space than any of his previous homes. "It's in the heart of the East Village, which was where I always used to hang out," he says. "I might have lived on Broadway, but for the other five or six days I was in the East Village. This is where I've been hanging out since 1963. My roots are there. My life is connected to the area." Forging new roots and connections, grandparents have started to dance with their grandchildren on the floor of the New York Loft.

Thanks to David's longevity and belated recognition as a seminal figure in the history of New York dance culture, it has become easy for partygoers to assume that the Loft has come to resemble a nostalgia trip for the halcyon days of the 1970s and early 1980s. Since February 1970, however, David has always played a mixture of old and new music, and he continues to mix it up in a similar way to this day. New faces in Japan and London might arrive expecting a trip down disco alley, but that's not what they get, because the party isn't a fossil-like impression of what it used to be. Throughout, David has remained committed to selecting records that encourage the party to grow as a musically radical yet never musically negative community. This sonic tapestry can sometimes sound strange to dancers who have become accustomed to a political climate in which communities are dismantled in favour of materialistic individualism and capitalist-nationalist wars, but the countercultural message is persuasive. "After a while the positive vibe and universal attitude of the music was too much for me, but this moment of hesitation and insecurity only lasted for a few minutes," commented a dancer after one party. "Then all the barriers broke and I reached the other side. Like a child, I stopped caring about what other people might think and reached my essence, through dancing."

Confronted by the tendency of partygoers to worship at his DJing feet, even though he has never considered himself a DJ and is resolute that this kind of attention detracts from the party, David positions the turntables as close to the entrance as possible so that dancers see the floor and not the booth as they enter the room. In a similar move, he also arranges the speakers so they will draw dancers away from the booth and towards the centre of the floor. Yet in London (much more so than in New York) dancers tend to face David, even though the effect is the equivalent of sitting with one's back to the orchestra at a concert. And at the end of these parties dancers applaud as if he's some kind of saviour, when in fact he's a guy who helps put on parties and tries to read the mood of the floor as the "sonic trail" unfolds. Reinforced by a cultural environment that encourages crowds to seek out iconic, authoritative, supernatural leaders, the adulation makes David deeply uncomfortable. "I'm a background person," he says.

Even if utopias can't be built without a struggle, and can never be complete, the mood at all of these parties is thrilling to behold. The floors outside New York might benefit from believing more in themselves, yet much of their applause is directed towards the music, as well as the surprisingly rare joy of being able to dance among friends in an intimate setting. That feeling has come about because, after years of dancing together, people now recognise each other to the extent they are entirely comfortable about welcoming in new faces. "It's unbelievable," said a female dancer who came to her first London party with her two daughters. "The people here ¾ they make eye contact!" Eye contact might not be very fashionable, but then the Loft isn't about fashion. Rather, it's about putting on a party with friends. And because it doesn't follow trends, it's been able to outlast every other party in the ephemeral (yet eternally hopeful) world of dance.


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“Acid and Experimental Chicago House”. Soul Jazz Records, 2005. Re-issued 2013.


House music is disco's revenge. So said Frankie Knuckles, reflecting on the charged history of the genre, which emerged in hometown Chicago in the middle of the 1980s. In this case home, to quote Gil Scott-Heron, is where the hatred is, or was. The disco sucks movement had its spiritual and organisational headquarters in the city, and the organisation's campaign reached its vitriolic climax when the celebrity rock DJ Steve Dahl detonated fifty thousand disco records during the halfway break of a baseball doubleheader. Metaphorical retribution arrived, according to the Knuckles, when dance artists, revisiting the disfigured disco of Dahl's melted vinyl, melded it into house. Revenge indeed.

House music's birth, however, has been largely mystified by this Darwinian story of destruction, survival and evolution. The genre might have received its abbreviated name from the Warehouse, where Knuckles, proud and defiant, continued to spin dance grooves in the aftermath of Dahl's headline-grabbing histrionics. But the sound of house emerged from an acute and unexpected angle that was in many respects cut off from the past. And while Knuckles played a heroic role in keeping disco alive in a city where so many chanted for its death, the acclaimed "Godfather of House" was a secondary figure when it came to pushing the mid-eighties incarnation of the genre.

An alternative genealogy of house might propose the following. That the key musical reference point for house wasn't disco, but a range of off-the-wall sounds that spanned late sixties rock and early eighties new wave. That the genre's key venue was not the celebrated Warehouse or the magisterial Power Plant (where black gay men were dominant), but the ramshackle Music Box (where the crowd was black and straight-leaning-towards-pansexual). And that its most influential spinner was not the ambassadorial Knuckles, but the deviant Ron Hardy ¾ a towering figure who, extraordinarily, was never interviewed before his untimely passing in 1992.

The heavyweight presence of New York has made it difficult to establish this alternative history. Drenched in disco, the city was initially suspicious of house, with Larry Levan, one of its most progressive DJs, notoriously slow to pick up on the genre. When Manhattan's spinners finally caught on, they tended to favour disco-flavoured cuts such as JM Silk's "Music Is the Key" over the obtuse, alien sounds of records such as "Acid Tracks".  Experienced through New York's eardrum, Chicago house sounded like an offshoot of New York disco. This was, and remains, disconcerting for many Chicagoans.

The strange life cycle of Chicago house in the UK only added to obfuscation of house music's original trajectory. The disco-derived "Love Can't Turn Around" went Top Ten before house had had a chance to create a buzz amongst dance aficionados. Then, following the successful release of Virgin's debut techno compilation, Techno! The New Dance Sound of Detroit, Chicago house was cast (yet again) as the intimate and conservative cousin of discoa music that, in contrast to techno's heroic and radical engagement with the future, was determined to look (or listen) backwards.

UK acid house culture, which referenced Phuture's sublimely freakish "Acid Tracks", soon came to signify a broader dance movement that was awash with bright yellow smiley faces, stylistically challenged baggy t-shirts, interminable debates about the meaning of "acid" that rarely referenced the music, and a new mythology that situated the culture's roots as much in the sunny holiday resort of Ibiza as the windswept post-industrial landscape of Chicago.

House wasn't born this way. Not in Chicago, at least. And this albumwhich focuses on experimental house records, many of them rarities, many of them released between 1985 and 1988opens up an opportunity to retell the story of Chicago house that gives belated emphasis to the music's progressive roots.

* * * * *

Chicago boasts a long history of radical, roots-oriented music making. The city played a central role in the evolution of the blues from the 1920s to 1940s, when it channelled the raw guitar work of the Mississippi Delta into the circuitry of electronic instrumentation, and in the late 1940s and 1950s it became a key centre for R&B, turning out artists such as Curtis Mayfield, Major Lance, the Dells, Gene Chandler, Dee Clark and the Chi-lites. "By the late 1960s," writes Robert Pruter in his book Chicago Soul, "the predominant recording activities in the city were in the soul field."

Ironically, Chicago produced no DJs, remixers or clubs of national significance during the 1970s. Its most famous spinner, Frankie Knuckles, hailed from New York and travelled west only when his career (established at the Continental Baths) lost its early momentum (after the bathhouse closed, Knuckles found himself spinning at the less-than-hip Stargate Ballroom). Meanwhile disco commentators never considered the Warehouse, which became virtually synonymous with Knuckles, to be anything more than a regional footnote, at least in its 1977-79 incarnation. Of course these commentators penned their copy in New York, but if they had travelled to Chicago they would have surely described the Warehouse as variation of party spaces such as the Loft, the Gallery and, most spectacularly, the Paradise Garage.

Knuckles and the Warehouse did play an emotional and sustaining role in the face of the disco sucks campaign, and the intense devotion felt by dancers and DJs for this music was illustrated when, some time around 1980/81, the staff at Importes [sic.] Etc, the main dance store in Chicago, introduced the label "house music" in order to channel the stream of requests they would receive from customers in search of Knuckles's non-commercial selections ¾ mainly disco, post-disco R&B and a healthy smattering of imports, many of them from Britain (new wave) and Italy (Italian disco). "House" was, quite simply, an abbreviation of "Warehouse" and it soon became part of the established scenester lexicon. But the Warehouse had no direct role in the house music that emerged as a distinctive musical genre from 1984 onwards.

Mid-eighties house music was rooted, instead, in the unnatural technological soil that was being cultivated by a new generation of researchers, engineers and musicians. The most influential figure in this movement, Robert Moog, launched the first commercial monophonic modular synthesizer in 1967. The following year Columbia Records commissioned a series of electronic and modern compositions that used the technology, including Walter (now Wendy) Carlos's acclaimed rendition of Bach, Switched on Bach. The Beatles used the Moog on their experimental White Album, which was released in 1968, and Giorgio Moroder employed the synthesizer as a font of gimmicky sounds on "Son of My Father" ¾ its first appearance in pop. After a few songs he gave up on the new technology. "The audience response wasn't really there," he says, "and I was always a commercial composer-producer."

Kraftwerk took synthesizer technologywhich acquired a polyphonic capability with the commercial release of the Oberheim Four Voice in 1975more seriously, deploying it as an avant-garde sound source on the cerebral Autobahn and Trans-Europe Express, and Moroder returned to the Moog soon after, this time in order to generate futuristic sounds for "I Feel Love", the final track on his journey-through-the-decades album with Donna Summer, which revolved around a hypnotic oscillating synth line. Although drum machines such as the Chamberlain Rhythmate, Wurlitzer's Sideman and Korg's Dunca Mata had started to appear on the market from the late 1940s onwards, their purpose was to generate dinky "samba" and "bossa" lines for amateur organ players, so Moroder ended up finding most of his percussion sounds from the Moog. "We managed to create a snare and a hi-hat but we couldn't find a punchy enough bass drum," he says. "Eventually we just did an overdub."

Roland launched its first preset drum machinesthe TR-33, TR-55 and TR-77in 1972. Six years later the company came out with the CR-78, which allowed music makers to programme their own patterns. Then, at the end of 1980, the Japanese manufacturer introduced the TR-808, its most "convincing" drum machine to date (even though the equipments sounds were all synthetic). Phil Collins was one of the first artists to deploy the TR-808 in the musical mainstream, although other musicians complained of its artificial sound. When the widely loathed Dutch outfit Starsound used a drum machine in order to join-the-dots on "Stars on 45", an abridged version of the Beatles greatest hits that was released in 1981, the technology seemed to be destined for permanent ridicule.

On the surface, the TR-808 appeared to be absurdly limited, capable as it was of producing just sixteen basic sounds (bass drum, snare drum, low tom, mid tom, hi tom, rim shot, handclap…). What's more, the sounds weren't particularly convincing. As music critic Kodwo Eshun notes, there were no drums in these drum machines, and their sounds (electronic pulses and signals) were utterly different from live drums. All of the sounds could be tweaked through rotary controls, however, and that was exactly what Afrika Bambaataa and Arthur Baker tried out during the recording of "Planet Rock"which included TR-808-generated beats and the quivering orchestral keys of the Fairlight synthesiserin 1982. The emergent genre of electro soon became synonymous with these aggressive beats. The TR-808 no longer seemed to be quite so feeble.

Drum machine technology took another leap forward when Roger Linn released the LM-1 around the same time that Roland came out with the TR-808. The LM-1 was entirely sample-based and was considered superior to the TR-808 for this reason. The drums on Prince's 1999 were almost entirely sourced from the LM-1, and other high-profile artists, including the Thompson Twins, Stevie Wonder, Gary Numan, Depeche Mode, the Human League, Jean-Michel Jarre and the Art of Noise, used the equipment. The five thousand dollar price tag, however, was prohibitively expensive for most musicians.

Roland released the hybrid TR-909, which used both analogue and sampled sounds, in 1983 (the samples comprised of recordings of "real" drums stored digitally). Only ten thousand machines were manufactured before the company discontinued the model and replaced it with the TR-707, which, like the Linn, drew on an archive of exclusively digital samples. More or less simultaneously, Yamaha launched the DX7, the first entirely digital synthesizer. Artists approved of the sparklingly, life-like sounds of the DX7 so much that the market for firsthand analogue synthesizers (including the original Roland machines) virtually evaporated overnight.

Chicago music makers didn't hang around for the market to collapse. A number of DJs rotated "Mix Your Own Stars"the B-side of "Stars on 45"to mix between records; Kenny Jason was reputedly the first Chicago spinner to use a "live" drum machine in his DJ sets; and Jesse Saunders, who was putting on parties for high school kids at the Playground, wired up a TR-808 to his turntables during the summer of 1983. These and parallel practices were interesting but far from extraordinary. "The sound of the drum machine wasn't that different," says Saunders. "Kraftwerk had been using electronic drum pedals. It was already in use."

Jesse Saunders and Jamie Principle laid down the first Chicago house tracks. Principle, an ardent fan of English new wave bands and a disciple of Prince, recorded the dark, stripped down, haunting and distinctly European "Your Love, which started to get reel-to-reel play in late 1983. Soon after Saunders, who soon linked up with Vince Lawrence, the son of a small-time Chicago record label boss, put together "On and On", a copy of a bootleg remix by Mach that included snippets from "Space Invaders", "Funkytown" and "Bad Girls". "On and On" was pressed up firstat the beginning of 1984.

Principle and Saunders were equally influential. Principle inspired his peers because "Your Love" teased open the awesome possibilities of a new musical sound that combined the faux futurism of British new wave with a mesmerising dance groove. Saunders, for his part, created a different kind of wonder. Few, if any, thought that "On and "On" was any good, but almost everyone saw Saunders sell thousands of copies and achieve an remarkable local fame. Saunders got the money, the girls and the cars, all from punching a few keys on a drum machine. "We didn't think we could touch Jamie, but Jesse's bullshit sold, and we could visualize doing better than that," says post office worker Marshall Jefferson, who was keeping half an eye on the unfolding scene. "Jesse was responsible for the house music boom. Without Jesse Saunders, the non-musician would not be making music."

* * * * *

There is almost no point in attempting to impose a calm, coherent chronology on the house music scene of mid-eighties Chicago, which gathered steady momentum during 1984 before the floodgates opened in 1985. The naivety and desperation of many of the record makers combined with the off-the-hoof machinations of the local label entrepreneurs created a recipe for vinyl chaos. What's more, there was no established practice, ethical or otherwise, for music makers and publishers to fall back on in order to reference the dos and don'ts of the music business.

To complicate matters further, the Chicago house music economy was only partially organised around the traditional process of pressing up vinyl. Whereas labels were dominant in the New York food chain, they were all but absent in Chicago, which meant that the grey economy of tapes took on a heightened role. It was quite normal for a producer to lay down a track, distribute it on tape and see it pressed up on vinyl several months later. What happened in between was anyone's guess.

Records that were pressed up independently took on a heightened scatological existence, especially if they proved to be popular. The more established labels, which might have rejected the track first time around, would suddenly scurry to put it out. Contracts, usually extremely flimsy affairs, were often an afterthought. And so a virtually unmappable exchange of tapes and acetates began to emerge in the second half of 1984 and accelerated during 1985. There was little order, but a great deal of excitement.

Into this cauldron of activity, two broad categories of house music emerged: house that, referencing the past, continued to live in the present, and house that, articulating an experimental present, reached for a tangible future. The first type of house, drawing on disco as its supreme inspiration, sought to rejuvenate seventies dance within the framework of eighties technology. The second type of house, which is rarely distinguished from disco-driven house in historical accounts, had no direct connection to its seventies predecessor. House was bipolar ¾ and at least fifty percent avant-gardistright from the start. It is the radical half of house that is the concern of this album.

Naturally, New York discophiles heard more than a faint echo of their favourite genre in the new house sound of Chicago. "When house first came out, it sounded a lot like disco, but really raw and stripped down," says Danny Krivit, a resident DJ at Downunder and Laces Roller Rink at the time. "'Love Is the Message' was a blueprint for house music and MFSB, with Earl Young on drums, were also the band behind a lot of the things that Frankie would play. He played these records on a good sound system and he used the three-way crossover to create a stripped down effect. He basically made old disco sound like house." Impressionable young kids, who lacked the musical skills of their disco forebears, listened and learnt. "The people who were going to listen to him used their new drum machines and synthesizers to emulate what they would hear in the club. Most of them were DJs, not musicians, and they just improvised."

Billboard columnist Brian Chin was initially cautious in his response to house, which he perceived to be essentially derivative. "Chicago house started out as a subset from Philadelphia," he says. "'Music Is the Key' was a rip-off of 'Music Is the Answer' by Colonel Abrams. Chip E 'Like This' was [ESG's]  'Moody' sideways. 'Jack Your Body' was [First Choice's] 'Let No Man Put Asunder'. Larry Heard 'Mystery of Love' was more originalit wasn't recognizably after any particular record ¾ but house was generally a hard-driving variant of disco." ("Like This" by Two of a Kind, which foregrounds its indebtedness to the mutant disco of ESG, can be added to the list. The record appears on this album.)

Looming over mid-eighties Chicago, disco was an impossible act to follow for the city's producers and artists, who didn't even bother to dream about pulling together the multi-tiered musical ensembles and studio time that was run-of-the-mill standard for so many disco productions. It wasn't just a matter of finances, or lack thereof. It was also about technical training. What would these young Chicago producers have done with all of these musicians and studio time? The answer is: nothing.

"The reason that house was stripped down was no one could afford to deal with live bands, plus a lot of people who made that shit weren't theoretically trained," says Lil' Louis, a rising DJ name who was spinning at the Hotel Continental. "You could hear that in the records. They were almost a dissident version of what real music should be." But one thing was clear. Disco was dope, and a subtle (or not-so-subtle) reference to a favourite song was the easiest way they could pay their respects ¾ and snatch what was required.

Yet while some Chicago's house producers gazed longingly in the direction of disco central (New York) and its key satellite states (Philadelphia, Los Angeles, Miami), others gazed into space, searching for new co-ordinates, hoping to break with the past and gamble with the future. Marshall Jefferson and Larry Heard led the way in trying to sound as strange, even as unmusical, as possible, and while they drew on the same technological pool as the discophile set they also deployed the equipment in such a different way that some would allege they misused it. This kind of house music wasn't something that gradually evolved out of the template established by Hurley and co. It was there from the start.

Jefferson, a rock freak who actively disliked disco, paid a visit to an equipment store in the summer of 1984 and started to lay down a slew of hard-edged, non-referential recordings. Virgo's "Go Wild Rhythm Tracks" (featured on this album) was put together with the less than helpful assistance of Vince Lawrence (whose 1986 track "Dum Dum" also appears on this album) and the seminal "I've Lost Control" (another inclusion) featured the deranged vocals of Sleezy [sic.] D as well as the demented gurgling of the 303. Neither of these recordings contained a self-conscious reference to disco, and the sound of the seventies was equally absent from the slew of recordings that Jefferson put together between 1984 and 1985.

Larry Heard, meanwhile, had grown bored playing drums in a local band and, at the end of 1984, purchased a Roland Juno 6 synthesizer and a TR-707. Heard went home and produced three tracks in one day: "Washing Machine" (angular, otherworldly, trance-inducing), "Can You Feel It" (technical, melancholic, low key) and "Mystery of Love" (lush, warm, gently percussive). In 1985 Heard teamed up with vocalist Robert Owens to re-record "Mystery of Love", and the duo went on to record "A Path", "You're Mine", "It's Over" and, with Harri Dennis, "Donnie". "Beyond the Clouds"featured on this album—was laid down after Heard added a Roland Jupiter 6 keyboard to his home studio in late 1985. "I was intrigued by synthesizers," he says. "I wasn't a writer. I wasn't a composer. I was just trying to do something creative. I knew I could play the keyboard in a traditional way, but I didn't want to do that."

These recordings were still indebted to seventies dance music. It is hard to imagine, for example, "I've Lost Control" or "Beyond the Clouds" happening (or at least finding a consumer market) without disco's emphasis on polyrhythm, the extended break and the rhythm section, plus the introduction of chant-like clipped vocals that drew on whittled down, floor-friendly themes. The journey from "work that body" to "jack your body" was a reasonably short one. Yet there was also an intentional break with the lush sophistication that came to define a good deal of disco in the second half of the 1970s, and the decisiveness of this rupture has yet to receive proper recognition.

House's forward-looking producersJefferson and Heard, with Adonis, Chip E and others—were stepping into a long-established practice of western avant-garde music making that received its most forceful expression when the Italian Futurist Luigi Russolo published The Art of Noises on 11 March 1913. Russolo's manifesto called for the creation of a new form of music that would be built around machine-like noise rather than the entrenched instrumentation of the symphony orchestra. "We cannot much longer restrain our desire to create finally a new musical reality," wrote Russolo. "Let us break out!" Dance music acquired a futuristic edge with Kraftwerk and Giorgio Moroder, and the baton was subsequently picked up, according to many, by the street freaks of electro and the bedroom boffins of techno, with house producers playing only a supporting role of catch-up. If that.

"House music to me is nothing more than an extension of disco," says Juan Atkins, the senior representative of the "Belville three", the founding fathers of Detroit techno, who hailed from suburban Belville (Derrick May and Kevin Saunderson completed the troika). "Chicago came out with its own version of techno a couple of years down the road with Larry Heard and Marshall Jefferson, but they didn't call it techno because we already had the term, so they called it acid house." Atkins adds: "It was a little take-off. I think there was somebody there trying to emulate a Detroit record… It seems like an awful coincidence that our records were selling so well in Chicago and all of a sudden acid house came on the scene."

The best known of these records ¾ and the one that Atkins refers to ¾ is "No UFOs", Model 500's debut release on Metroplex, which came out in the spring of 1985. The record, produced by Atkins, entered the Billboard charts in August 1985, having weaved its way into Chicago a little earlier thanks to May, who was travelling Chicago regularly to visit his parents. In contrast to Atkins's earlier electro releases, which were recorded with the group Cybotron and were similarly saturated with ideas of the alien other, "No UFOs" used a four-four bass drum, and this, according to the Detroit producer, was the reason why the record landed so successfully in Chicago.

Yet while "No UFOs" was played on radio in ChicagoAtkins credits Farley "Jackmaster" Funk of the Hot Mix Five as being the first radio jock to rotate the trackit is less than clear if it was rotated in the clubs that counted. Chicagoans insist that it wasn't, and that Detroit techno only established a foothold in the city with the release of May's "Strings of Life" and "Nude Photo". But even if Frankie Knuckles and Ron Hardy did play the Model 500 debut, the daring originality of Jefferson and Heard's earliest productions is beyond dispute, and these were laid down before "No UFOs" made the westbound journey to Chicago. Chicago, in other words, didn't follow Detroit into the future. The Windy City was running a dead heat with the Motor City and it might have even been ahead, at least when it came to four-on-the-floor.

Techno aside (and it really was aside in Chicago during 1985 and 1986), differences between the two principal strains of Chicago house shouldn't be allowed to obscure their similarities. Whatever the relationship to the past and the future, house producers were part of a pioneering posse of alternative musicians whose principle activity was to piece together rather than play music. That was because the rapid spread of drum machines, synthesisers and sequencers (sampling had yet to take hold in house) changed the nature of musicianship, seemingly for good. While it was still entirely viable to learn to play a traditional instrument in real-time before attempting to record music, that kind of skill was no longer fundamental to the recording process.

Jesse Saunders might have regarded himself as a conventionally skilled musician, but most Chicago producers were more interested in finding than playing. Jacques Attali commented in Noise, published in 1977, that the musician was becoming a spectator of the music created by his computer." The French philosopher and music theorist added: "One produces what technology makes possible, instead of creating the technology for what one wishes to produce." Following this dictum, house music was (in the words of Simon Reynolds, writing for Melody Maker in February 1988) "assembled, not born". The distinction between music technology and music creation was becoming harder to define. And the difference between Chicago house and New York disco was become easier to hear.

* * * * *

Following the runaway local success of "On and On", Larry Sherman, the owner of the only pressing plant in Chicago, decided to set up his own house music label, which he dubbed Precision Records. Then, at the beginning of 1985, Sherman set up a label with Jesse Saunders, the most prolific (if not most creative) figure in the new genre. Vince Lawrence came up with a name for the label ("Tracks") and Sherman, a notoriously bad speller, the legendary lettering ("Trax"). "Wanna Dance?" by Le' Noiz, a pseudonym for Saunders, was the first release.

Sherman and Saunders were less gung ho when it came to releasing other people's music. They rejected Marshall Jefferson's "Go Wild", which the producer brought to them soon after the label was formed. (Jefferson responded by setting up his own label in order to release the record.) They also turned down Chip E's "Jack Trax" EP, which arrived on their doorstep in the spring. (Chip E formed his own label and paid Sherman to press up a single acetate of the recording.) Then, towards the end of the year, they passed on Jefferson's Virgo EP, which featured two tracks by Adonis, including a remake of "I've Lost Control", titled "No Way Back". (Jefferson put the record out himself, and when Sherman heard how "No Way Back" was going down he released it on Trax.)

By the end of 1985, Chicago's record label scene had divided itself into two: established independents and fly-by-night vehicles for producers who were being cut out. Trax was almost old school, having been in operation for almost an entire year, and DJ International, which was opened around the middle of 1985 by local record pool boss Rocky Jones, with Steve "Silk" Hurley in initial tandem, was also becoming a major player. Trax and DJ International soon developed an intense rivalry that was based less on their differences than their similarities: both Jones and Sherman ran "streetwise" operations in which artists, seduced by up-front cash sweeteners, rarely made as much money as they were due.

Artists who couldn't get released on Trax or DJ International often set up their own labels, flagging the move towards a highly flexible, deregulated and transient market in music recording along the way. Jefferson's Other Side was one, Heard's Alleviate was another. Their labels might have looked like they were the musical equivalent of vanity publishing, but whereas most self-published books don't sell, these records sold in their thousands. The problem was simple. There weren't enough labels around, and the ones that were up and running were still getting to know the market.

To all intents and purposes, Sherman controlled the blood flow. All records travelled through his pressing plant and numerous eyewitnesses testify to his willingness to siphon off the most profitable material pretty well as he pleased. If a reject record turned out to be a local hit, who could stop Sherman from pressing up copies behind the artist's back? The Wild West (or, alternatively, neo-liberal) business model was carried over into the mogul's use of raw materials, which were often more cooked than raw. In order to maximise profits, Sherman regularly resorted to using recycled rather than virgin vinyl and the result, which apparently didn't cause the plant owner too many sleepless nights, was a spew of a poor-quality pressings. "Importes Etc. had a lot of complaints from customers," says Charles Williams, who worked in the store. "But in the end they had no choice because these were the only versions."

The real powerbrokers in the Chicago house scene, however, weren't the labels but the Frankie Knuckles and Ron Hard, the two most influential spinners in the city. And even though Knuckles is commonly called the "Godfather of house", Hardy was the more influential DJ between 1985-88 period ¾ the period that marked the rise of house, and which is the focus of this album.

Both Hardy and Knuckles were operating in new conditions. During the 1970s there was little, if any, direct contact between musicians and producers on the one hand and DJs on the other. Record companies were the effective gatekeepers of the dance music economy, opening or barring the way to club play. Musicians and producers rarely went to the clubs where their music was being played, and key remixers such as Tom Moulton (who didn't like clubs) and Walter Gibbons (who was too busy DJing) weren't around to do the legwork. So it was left to the promotional reps of the record companies to hand deliver the latest sounds to the DJs, or drop off boxes of records at the local record pool.

This system began to break down in the late 1970s. Having entered the dance market at an ungracefully late moment, record companies pulled back with even less poise when the western-wide recession decimated music sales. By the early eighties, the gulf between the companies and the producers/artists had widened thanks to the wave of new, comparatively cheap technologies, which encouraged music makers to piece together rudimentary bedroom studios and press up records ¾ well away from the companies. By the time Chicago's fledgling house producers started to make records, it was easier to take a tape to Ron Hardy or Frankie Knuckles ¾ either in person or via a friend ¾ than it was to get a record released by one of the city's companies. And the contrasting personalities of the two DJs, combined with distinctive identities of their crowds, resulted in the emergence of distinctive dance worlds.

Having split with Robert Williams when the Warehouse closed in June 1983, Knuckles opened his own venue, the Power Plant, in November 1983. He was widely considered to be the more progressive and skilled DJ throughout 1984, and his crowd, which was largely composed of knowing and mature ex-Warehouse dancers, as well as some younger, more obviously streetwise elements, bolstered his reputation. "The Plant was located at 1015 North Halsted Avenue, in the 'back yard' of one of Chicago's most notorious public housing projects, Cabrini Green," says Alan King, a Warehouse and then Power Plant devotee. "Due to its proximity to Cabrini Green, the Plant drew a very interesting mix of people ¾ the more eccentric, often gay, former Warehouse crowd, as well as a more 'thuggish', generally straight element from Cabrini. It was very interesting to watch the communal power that Frankie and the music he played had on folks from very different walks of life. While some referred to house music as 'fag music', the hardest, straightest folks from Cabrini also became captivated regulars at the Plant."

The erudition of the Power Plant dancers also meant they had "high standards" and this, combined with Knuckles's penchant for expertly produced sounds and the inaccessible architecture of his towering booth, meant that the venue was comparatively closed to the rudimentary home-made tapes of Chicago's first wave of house producers. The devotion to discoincluding the dark disco of groups such as the Skatt Bros.—was accentuated by the memory of Steve Dahl. Having been told that their beloved music sucked, dancers at the Warehouse, and then the Power Plant, were doubly determined to guard its survival. The crowd, in other words, could be just as picky as their spinner when it came to new music.

Hardy, for his part, was considered to be relatively conservative when he was recruited by Williams to play at the new Warehouse, which was situated in the old home of the Schwinn Bicycle company, located at 1632 South Avenue. Born into a jazz family, Hardy had played at a string of Chicago clubs ¾ including Den One and Carol’s Speakeasybefore travelling to California in the late seventies. He returned to the Windy City in the early eighties and led a life of relative obscurity, but Williams "thought he was pretty good" and "had the potential to develop himself into a better DJ" if he was given his own space.

The new Warehouse opened for business around the same time as Knuckles triumphantly launched the Power Plant and was forced to shut down soon after. Williams's new club, it seemed had little going for it. Hardy was playing a less interesting selection of records than Knuckles, and the new Warehouse was much less impressive in terms of all-round finish than the Power Plant. So, acknowledging that he wasn't going to win back his core black gay crowd anytime soon, Williams reopened his venue as the Music Box and started to try and draw in an alternative clientele. "The Music Box became more heterosexual than homosexual," says Williams. "A lot of gay people came along, but it wasn't as gay as the Warehouse. It introduced another group of people into the scene."

The new crowd didn't burst onto the scene out of nowhere. Some had danced at the original Warehouse, but most got their first taste in variety of less celebrated spaces. One of the most significant was known as the Loft, which was an entirely separate entity from David Mancuso's New York party, despite the shared name (the organisers, like almost everyone else, hadn't heard of Mancuso's subterranean space when they opened in 1980). Running in parallel, Saunders put on huge high school parties at the Playground, where he played a mix of disco, R&B, new wave and electro that was similar to sets of Kenny Carpenter and John "Jellybean" Benitez, both of whom were attracting similarly young straight black, Latino/a and Puerto Rican crowds at the reincarnated Studio 54 and the Funhouse. Having been excluded during the 1970s, straight "kids of colour" were finding their way into clubs en masse for the first time.

It was at the Playground that Keith Farley (who became Farley Keith Williams, then Farley Keith, then Farley "Funkin'" Keith and finally Farley "Jackmaster" Funk) got his first DJing gig and then shot to local fame when he joined the Hot Mix Five, which was formed in 1981 and also included Kenny "Jammin'" Jason, Mickey "Mixin'" Oliver, Ralphie "Rockin'" Rosario and Scott "Smokin'" Silz. "It was called Saturday Night Live, Ain't No Jive, Chicago Dance Party," says Silz. "We started off playing R&B dance music and we gradually became more progressive. In 1982 and 1983 we started playing a lot of imports from Italy and Canada, and then we got into house music. We played records from Jesse Saunders and Wayne Williams." Listening figures shot through the roof. "The show was number one. We had a thirty share of the Arbitron rating in the Chicago market, which was just incredible."

The Hot Mix Five soon became synonymous with WBMXthe mixers played on Friday nights as well as a daily Hot Lunch Mix and Traffic Jam sessionand they also put on parties for local high school youths. "We took dance music from a very lean time period to the height of house music," adds Silz. "It used to be every kid wanted a baseball glove and a bat. It became every kid wanted two turntables and a mixer. All of a sudden everybody wanted to be a DJ. We were the force in bringing it to the masses."

While these events never came close to generating the same kind of underground cachet as the Warehouse, they nevertheless introduced dance music to thousands of youngsters and established an embryonic network that would go on to form an important part of the largely black straight crowd that gravitated to the Music Box. When some of these kids ¾ and their friendsstarted to record dance music, it was only natural that they would take the tapes to their local DJs. Hardy received the lion's share.

That was because Knuckles was relatively inaccessible, not just physically, in terms of the foreboding design of his new booth, but also psychologically, with regard his intimidating superstar (superstar in the relatively small world of Chicago Clubland, that is) status. Knuckles could be approached, and producers were certainly keen to give him their records, but he nurtured a reputation for accepting only high quality productions and a not entirely appetising rumour had it that the DJ cut up tapes he didn't like. The hurdles were formidable and the success stories fairly infrequent

Hardy, in contrast, was less of a star and had less of a reputation to protect. The less exalted base from which he had to operate suited the spinner, who stayed closer to the floor, and the people who headed in his direction were precisely the straight black youths and friends of straight black youths who were developing the nascent sounds of house. Tapes and acetates started to trickle in Hardy's direction during his stint at South Indiana Avenue, and when the Music Box relocated to the R2 Underground at 326 North Lower Wacker Drive the trickle turned into a flood.

"Ron Hardy got adventurous when he went to the Underground Music Box," says Marshall Jefferson. "He started taking tapes from everybody. I gave him fifteen tapes through Sleezy D and he played all of them. Frankie wouldn't take tapes. He tried to keep a level of quality and I don't think he really understood what was going on. 'I've Lost Control' was the biggest thing in the Music Box. I don't think Frankie played it." Chip E, who sold records to Hardy at Importes Etc., also found it physically easier to get tapes to the Music Box spinner. "Ronnie and Frankie were at different levels," he says. "With Frankie you almost had to have an invitation to the booth ¾ it had to be something that was planned before. But when I went to the Music Box Ronnie would put it on whatever I gave him, almost without listening." If Chip E couldn't get into the Music Box booth, he would just stretch out an arm and hand his latest tape to Hardy. "Ronnie was always more accessible."

The minimal-to-the-point-of-cheapskate design of the new Music Box complemented the shifting selections of the venue's DJ. The room, long and narrow, was painted black. Stacks of speakers lay at one end of the room and the DJ booth was positioned at the other, as if someone had set up a makeshift club in a dark and gloomy hallway. The sound system was loud but poorly defined, with the tweeters and midrange on the verge of permanent disintegration. The only source of light emanated from a couple of strobes, which flashed out visual warnings of sonic disorientation. It was as if the club physically embodied the dark, stark tapes that were being thrust in Hardy's direction.

Hardy developed a stylistic signature that matched the edginess of his selections at North Lower Wacker Drive. He started to play records fast (plus-eight fast). He violated established DJing etiquette and began to rotate his favourite tracks several times in succession. And, flying in the face of musical convention, he started to play tracks backwards via his reel-to-reel. "Ronnie took a real liking to 'It's House'," says Chip E. "He put it on reel-to-reel and started playing it backwards. Everyone loved it. People were coming into the store asking for the backwards version."

A hardening heroin addiction propelled the DJ's shift to an uncompromising style. "Ron had personal family problems that caused him to start doing the wrong kind of drug," says Robert Williams. "I'm not saying that Frankie didn't do anything, but he didn't do the wrong onethe one that was addictive. Ron started on heroin." Williams participated in the ritual but managed to survive its potentially pernicious effect. "I knew I could dibble and dabble, but I was very cautious and very mindful of what would happen if I got carried away. I used it as a recreational drug on occasions and didn't take it seriously. But Ron's brother had OD-ed and there were other family tragedies." Heroin made the music seem slower to Hardy, who responded by pushing up the speed controls. "That was why everyone thought Ron played with more energy than Frankie."

The predominantly young straight black crowd at the Music Box lapped up the madness. "It was full of urban guys from the west side and south side of Chicago," says Byron Stingily, who was introduced to the scene by Vince Lawrence, an old college friend. "Guys would dance with their arms locked around each other and jump around." Hardy's followers also jacked, which involved them thrusting their whole bodies forwards and backwards spasmodically, as if possessed by a demonic rhythm, and in so doing they inspired dance-driven cuts such as Chip E's "Time to Jack" as well as Hurley's "Jack Your Body". "The entire lyric for 'Time to Jack' was 'Time to jack, jack your body,' because that was all that was important," says Chip E. "People didn't need to hear a story. 'Time to jack, jack your body' — that was the story right there."

Power Plant dancers also jacked, yet they remained convinced of their own superiority. "The Power Plant had more disco sophisticates than the Music Box," says Andre Hatchett, a Warehouse regular who followed Knuckles to his new venue. "We were more knowing. We were the crowd. They were just our seconds, our hand-me-downs!" There can be little doubt, however, that Hardy's dancers had more energy than their Power Plant counterparts and, having received less education in the nuances of quality music, they were also happy to be taken on an extremely rough ride. "I went to the Music Box," adds Hatchett. "I didn't like it because I was a Frankie fan. Frankie kept a certain tempo and there was more of a groove. Ron Hardy had a more frantic tempo. Playing the reel-to-reel backwards started with Ron Hardy."

Contrary to popular folklore that has conferred the status of "Godfather of House" upon Knuckles, it was Hardy who lay at the fulcrum of house music's earliest, wobbliest, most experimental and most exhilarating incarnationand it was Hardy who broke most of the records featured on this album. Knuckles kept dance music alive in the post-disco sucks era, inspired the term "house" via his selections at the Warehouse and went on to play a selection of house records that passed his scrupulous standards. But it was Hardy who was hungry for the new sounds of house, who accepted tapes over his booth, who played them with barely a listen, who encouraged novice producers to keep on producing and who established a consumer base for these fresh sounds. "I give Ron Hardy and his crowd credit," says Hatchett. "They invented house."

* * * * *

The brainchild of Earl "Spanky" Smith, "Acid Tracks" (included on this album) was inspired by Ron Hardy. Having left Chicago for California in the summer of 1984, Spanky returned when his friend Herb Jackson told him about the new club. "Herb said I had to come back, just to go to the Music Box," says Spanky. "I haven't returned to California since." Around the beginning of 1985, Spanky persuaded his sixteen-year-old buddy DJ Pierre (who had been spinning records since the age of thirteen) to visit the venue. "It changed his life, too," adds Spanky.

Some time later, Spanky and Pierre visited another friend, Jasper, who owned a Roland TB-303. Spellbound by the equipment's seemingly magical ability to synchronise the bass and the drum pattern, Spanky decided he had to buy a Roland for himself. His initial search yielded no results: Roland had discontinued the model and the main equipment outlets had sold out. "Eventually I found one in a second hand store for two hundred dollars," he says. "I spent my last dime on it."

Following the long established and extremely serious tradition of experimental music making, Spanky took the TB-303 home and, along with Jackson, started to press buttons he didn't understand. "After a while this strange sound popped up," says Spanky. "It was programmed into the machine. I thought it was slamming. I could picture Ron Hardy play it in the Music Box." Spanky called DJ Pierre. "Spanky had a drum beat going and the 303 was making all these crazy sounds," says DJ Pierre. "I thought it sounded interesting. Then I started to twiddle some knobs and the sounds became even weirder."

Spanky and his gang had pressed a button that was supposed to sound like a live bass guitar, but the imitation was poor and when the friends started to mess about with the frequencies the result was positively strange. "We were already going to the Music Box and hearing weird shit," says DJ Pierre. "We were already attunedRon Hardy had trained our minds—so the bass didn't sound like noise. It sounded like something you could dance to."

Spanky and DJ Pierre took a tape of the record (provisionally dubbed "In Your Mind") to the Music Box and, standing outside the club in the bitter cold, waited for Hardy to arrive. When the spinner arrived he listened to their cassette and said it sounded OK, and later on that night he played the track. "The first time he played it the crowd didn't know how to react," says Spanky. "Then he played it a second time and the crowd started to dance. The third time he played it people started to scream. The fourth time he played it people were dancing on their hands. It took control over them. Ron Hardy said, 'That's a great track!'" DJ Pierre adds: "Frankie Knuckles wouldn't have played it."

Spanky and DJ Pierre went to the Music Box for the next fortnight and then took a three-week break. During that time a friend approached them and said that Hardy was spinning an amazing track, which the dance floor was referring to as "Ron Hardy's Acid Tracks". The friend played a tape of the record to Spanky and DJ Pierre. It was "In Your Mind". "There was a rumour that they put acid in the water at the Music Box," says DJ Pierre. "I don't know if it was true or not, but we now had a new name for our record."

Following a Music Box performance of "Move Your Body"actually titled "The House Music Anthem" and released on Trax in the summer of 1986—Spanky, DJ Pierre and Jackson approached Marshall Jefferson to see if he would produce "Acid Tracks". Jefferson, who had already toyed with the 303 on "I've Lost Control", agreed. "I tweaked the 303 before I recorded the track, whereas they tweaked it during the recording," he says. "I liked theirs better than mine."

According to Jefferson, there wasn't a great deal for him to do. "I sat in the studio and watched them. Larry [Sherman] told me he didn't want to put the record out unless I produced it. Since I recommended the project, I wanted to make sure it got taken care of." Jefferson introduced one significant change, slowing the record down from 126 to 120 beats per minute. "Marshall told us, 'New York has got to get into it!'" says DJ Pierre.

"Acid Tracks" was released under the moniker Phuture, and the first song on the B-side, titled "Phuture Jacks" (also included on this album), recycled the name. "We were sitting in a restaurant and a friend of ours called Tyrone, who was nicknamed Yancy, came up with the name 'Future'," says Spanky. "We thought that somebody would have already used it so we decided to call ourselves 'Phuture'." Given that "Acid Tracks" sounded like it had crash-landed in Chicago from some dark-and-twisted dystopia, the name was fitting. "The future was part of our lives," adds Spanky. "We weren't copying a sound that was already out there. We were creating a sound that you would expect to hear in the future."

Order and tranquillity reigned for about half a second. Armando released "Land of Confusion", ostensibly the second (or third if Sleezy D is counted as the first) acid house track, which the Phuture team enjoyed (Armando's "Downfall" appears on this album). After that, mayhem ensued, with an estimated sixty to one million acid house tracks being released in the slipstream of "Acid Tracks". Jefferson ¾ and it's not entirely clear if he's being serious or not ¾ blames DJ Pierre, who apparently revealed the TB-3030 secret to the rest of the world, for the avalanche.

The subsequent outpouring of acid releases included a good number of make-some-quick-money imitations, but also gems such "This Is Acid" by Maurice featuring Hot Hands Hula (included on this album), the cunningly titled "Acid Track" by Adonis (whose "Do You Want to Percolate?" also makes an appearance), and "Acid Over" by Tyree (another inclusion). "The crucial element in acid is that the bass line really carries the song," Tyree told Simon Reynolds in an interview for Melody Maker in February 1988. "It's the modulation of the frequencies of the bass line that keeps the track moving, keeps it hot."

Ron Hardy broke these and scores of other acid house releases at COD's, the Music Box having shut down some time around the end of 1986/beginning of 1987. Robert Williams eventually joined Hardy at his new spot, but it never became known as the Music Box, and Hardy subsequently left COD's for the Power House, where Knuckles had held his final Chicago spot before leaving to play a residency at Delirium in London in September 1987. (Knuckles, who was unable to detect any temporary, let alone lasting, value in acid house, returned to Chicago in December and then left for New York in January 1988.)

Hardy played alongside Steve "Silk" Hurley at the Power House and in the spring of 1988 the venue was renamed the Music Box. "A lot of the hardcore people who really loved the [Music Box] Underground at 326 didn't like the Power House," says Jamie Watson, who started to go out in the summer of 1988. "The Power House was a huge space compared to 326 and it didn't have the same atmosphere. The next generation was beginning to come through and a lot of the people who did their thing at the Underground felt they were too old to be partying with teenyboppers."

For many, 1988 was the year the Chicago scene experienced an irreversible downtown. Local authorities reigned in the clubs and WBMX went off air, all of which prompted Mixmag, whose attention was shifting sharply in the direction of New York, to announce in its July issue that the Chicago club scene was "dead". But while New York and New Jersey were now challenging Chicago as key centres of house music production, artists based in the Windy City continued to turn out experimental music, even if the circumstances of their release were often murky.

Tyree's "Acid Crash"(included on this album) typified the bedlam. Originally released as "Video Crash" on Rockin House Records in 1988, the record was bootlegged in New York and re-released as "Acid Crash" on House Musik later on that same year. Tyree had no cause to get upset, having drawn heavily on "Video Clash", which was released on Dance Mania in 1988, in order to make the record in the first place. And Lil' Louisaccording to many, Chicago's third most important DJ, even he is widely considered to have been a "long third" behind Ron Hardy and Frankie Knucklescouldn't get too upset, either, because his own contribution to the recording was disputed.

Jefferson (surely the most influential Chicago producer of the mid-eighties) laid down the first version of "Video Clash" with Kym Mazelle around 1986. Jefferson says that Lil' Louis was over his house "every day" during this period, always on the hunt for new music, and when the DJ laid his hands on Jefferson's distorted, virtually insance "Video Clash" he cut out Mazelle's vocal and turned the stripped down tracks into his signature tune at the Future (the old Playground, which Lil' Louis took over in the mid-eighties) and the Bismarck (a hotel where he put on huge pizza parties for a young crowd).

"It was a crazy song," says Lil' Louis. "I used to play it at my parties and people would beg me for it." Jefferson was characteristically blasé when, a couple of years later, Lil' Louis said he wanted to put the record out. "He expressed how upset he was that people were ripping off the tune," says Jefferson. "He then released 'Video Clash' under his own name [with Jefferson's permission] and didn't give me or Kym song writing credits." The recordincluded on this albumwas pressed up on Dance Mania in 1988. So at least the genesis of this particular record, and its manifold offshoots, is clear. Right?

* * * * *

In a short five years, Chicago house had more or less completed the first cycle of its story. The simple version of this narrative goes something l-l-l-like this. Having started out as a small town, organic art form that melded pragmatics, pleasure and creativity, house chiselled out a potentially lucrative market and, after that, was ransacked by moneymen. The drive to commercialism spawned sameness and fatigue, but it also helped generate new markets outside of Chicago that, in turn, spawned new waves of dynamism followed by plagiarism and fatigue.

The slightly more complicated version of house music's first half-decade, mindful that there can be no way back to the genre's earliest years, tells a different version of events. House music, according to this account, emerged in 1984 in an environment defined not by innocence and manic creativity but rather by ruthlessness and blandness. Two years of high creativity ensued (the departure of Saunders to the West Cost to pursue a recording career in R&B for Geffen may or may not have been a coincidence), and this inventiveness revolved around Hardy, who developed a frantically dynamic environment for artists and dancers alike. Some critics suggest that stagnation set in following the release of "Acid Tracks", but experimental tracks were still plentiful ¾ until a combination of government politics, excessive drug use drugs the greener concrete of other cities broke up the reigning artist-DJ-dancer nexus.

As Chicago started to splutter, Manchester, London, Paris and Rimini joined New York and New Jersey and flung themselves into house. (Detroit, and to a large extent Berlin, stuck to Techno.) Deep house emerged as a compelling counterpoint to acidJefferson was once again an important pioneerbefore it mutated into a more general repudiation of progressive house or trance, which were the dominant sounds of Britain and Europe in the early 1990s. By the end of the decade deep house (alternatively known as Garage or New Jersey) had largely descended into a cul-de-sac of jaded, chin-stroking tracks and too-highly-polished vocals. In the meantime, techno and drum and bass forged their position at the head of radical experimentalism ¾ and confined house to the realm of safe nostalgia (even "Dad's music") in the process.

Meanwhile Chicago, having climbed so high so fast, experienced an attack of vertigo and lost its balance altogether. Its subsequent fall was bruising, but not fatal. Key producers and DJs moved away or, in the tragic case of Ron Hardy, passed away, and for a while the city's dance scene, which had partied hard for the best part of a decade, suffered from a nasty hangover. By the early 1990s, however, the Chicago dance scene started to rediscover its rhythm and a new generation of producers (including Cajmere, Roy Davis Jnr., Ron Trent, Glenn Underground, DJ Sneak, Anthony Nicholson, Paul Johnson, Boo Williams) and labels (such as Cajual, Prescription, Clairaudience, Relief and Clubhouse) made sure that Chicago didn't simply signify the past.

While many of the new scenesters looked to disco (for loop-friendly samples) and deep house (for mood-inducing instrumentation), othersmost notably Cajmere and Davis—developed a dialogue with the tradition of acid house. Cajmere's "Explorer" (1994), included on this album, provides one example of this evolving avant-attitude. Davis's "Acid Bass" (1995), also featured here, stands as another. (Incidentally, "Acid Bass" more or less coincided the release of the "Gabrielle", another Davis track, which did so much to inspire UK Garage.) The inclusion of these records stands as a reminder Chicago didn't disappear from the house music map towards the end of the 1980s. The city's experimental foundations might have wobbled for a while, but by the mid-1990s they had been firmly re-established.


All quotes are from original interviews unless otherwise stated.

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“Disco and the Queering of the Dance Floor”. In Angela McRobbie, ed., “Queer Adventures in Cultural Studies”, Cultural Studies, 25, 2, 2011, 230-243

How might we analyse the relationship between sexuality and the dance floor in 1970s disco culture- a culture that is commonly ridiculed, yet which was often progressive and continues to inform the contemporary thanks to its innovations within DJing, remixing, social dance and sound system practices? It has become commonplace to read disco as the site where a binary contest between gay and straight was staged: that disco emerged as an outgrowth of the Stonewall Rebellion of June 1969 and unfolded as a predominantly male gay subculture; that the dance movement was subsequently co-opted, commodified and tamed by films such as Saturday Night Fever (1977), which established it as a safe haven for straight courtship; and that the commercial overkill that followed the runaway success of the RSO movie culminated in an overtly homophobic backlash that turned on the culture’s perceived latent gayness. Rather than repeat this narrative, however, I want to outline some of the ways in which dominant conceptions of sexuality cannot fully account for the phenomenon of disco, and will argue that the conditions that coalesced to create the 1970s dance floor revealed disco’s queer potential- or its potential to enable an affective and social experience of the body that exceeded normative conceptions of straight and gay sexuality. In the analysis that follows, I will be referring to practices that unfolded in the United States, and in particular, downtown New York, where disco’s queerness was arguably most marked, even though the culture’s scope was ultimately international.

In order to assess the significance of queer disco, it is necessary to note that the social dances that preceded disco- most notably the Waltz, the Foxtrot, the Lindy Hop (or Jitterbug), the Texas Tommy and the Twist- were to varying degrees patriarchal and heterosexist. If this claim is sweepingtruncated and in some respects crude, it nevertheless draws attention to theway participants could only take to the floor if accompanied by a partner of the opposite sex, as well as the reality that in this situation it remained standardpractice for men to assume the lead. That did not make the dancesirredeemably regressive. To being with, they were often no more gendered than the wider social settings within which they emerged, and social dancebecame a site where these norms were challenged as well as imposed. As dance historians such as Katrina Hazzard-Gordon (1990) and Marshall and Jean Stearns (1994) note, vernacular dance provided African American communities with a reason to congregate as well as a channel for expressive release,while the under-historicized culture of drag balls that dates back to the Harlem Renaissance disrupted gender signifiers and roles. Successively, these dances also allowed for an increasing amount of space to exist between the dancing couple, and in turn this provided the female follower with greateindependence from her male lead.

Yet on the eve of 1970, prior to the breakthrough of the social dance formation that would come to be known as disco, the rising autonomy of the female dancer in dances such as the Twist continued to be tempered by the ongoing role of men as the gatekeepers of the dancer floor. And while gay men were ushered to the front of the door queue in venues such as Arthur (a comparatively liberal discotheque situated in midtown Manhattan) on the basis that they would help energize the dance floor, once inside they could only take to the floor within the structure of the ostensibly heterosexual couple, andthe same restrictions were applied to lesbian women. Arthur closed in June 1969 not because the Stonewall rebellion made its practices look archaic, but because the pre-disco discotheque craze of the 1960s had come to resemble atired fad. At this particular historical juncture, dance floor practices lagged behind the demands of feminist and queer activists.

Instead of fading out altogether, however, social dance assumed a new form at the beginning of 1970 with the more or less simultaneous emergenceof two influential venues. In one, David Mancuso staged the first in a longseries of private parties that came to be known as the Loft in his NoHo apartment on Valentines Day. In the other, two gay entrepreneurs known as Seymour and Shelley, who were influential players in the gay bar scene in Greenwich Village, took over a faltering straight venue called the Sanctuary that was located in the run-down Hells Kitchen neighbourhood of midtown Manhattan. Together these venues contributed to the forging of a relationship between the DJ (or musical host', as Mancuso prefers it) and the dancingcrowd that continues to inform the core practice of contemporary danceculture. And although gay men were an important majority presence in both of the Loft and the Sanctuary, participants (including participants who self-identified as gay men) did not consider either venue to be gay.

The Loft brought together several diffuse elements: the rent party tradition that dated back to 1920s Harlem; the practice of loft living in downtown New York, which emerged in the late 1950s and 1960s as manufacturers began toleave the city; the rise of audiophile sound technologies, which followed the introduction of stereo in the late 1950s; Timothy Learys experimental LSD parties; and the gay liberation, civil rights, feminist and anti-war movementsthat Mancuso aligned himself with during the second half of the 1960s. Mancuso, who had grown up in an orphanage in upstate New York, was used to experiencing families as unstable and extended, and brought this outlook into his parties, which attracted a notable proportion of black gay men, as well as straight and lesbian women. There was no one checking your sexuality or racial identity at the door,’ says Mancuso. I just knew different people.’ Because the Loft was run as a private party, Mancuso could have run it as anexclusively male gay event, but he chose not to. It wasnt a black party or a gay party,’ he adds.‘ Thered be a mixture of people. Divine used to go. Now how do you categorise her?

The Sanctuary was also indelibly heterogeneous.‘ It had an incredible mixture of people,’ recalls Jorge La Torre, a gay male dancer.‘ There were people dressed in furs and diamonds, and there were the funkiest kids from the East Village. A lot of straight people thought that it was the coolest place in town and there were definitely a lot of women because that was part of what was going on at the time’ (because gay men such as La Torre were often involved sexually with straight women).‘ I would say that women made up twenty-five percent of the crowd from the very beginning, probably more. People came from all cultural backgrounds, from all walks of life, and it was the mixture of people that made the place happen.’ It would have been difficult for Seymour and Shelley to turn the Sanctuary into an exclusively gadiscotheque, even if the idea had occurred to them. First, New York State law continued to assert that male- male dancing was illegal and discotheques were accordingly required to contain at least one woman for every three men; the female quota was filled by lesbians as well as straight women who wanted to be able to dance without being hit on by straight men. Second, while the Sanctuarys owners could have paid off the police in order to get around that obstacle, it is unlikely there would have been a thousand self-identifying gay male dancers to fill up the venue in this formative stage of queer dance culture. Finally, straight dancers wanted to be part of the nascent disco scene, and thanks to the venue’s public status, which meant that anyone who joined the queue could potentially get in, there was no obvious way to identify and exclude them.

I am not simply questioning the common assumption that early discoculture was homogeneous in terms of its male gay constituency just because this is manifestly inaccurate and contributes to the systematic erasure of other histories, including the history of lesbian women. I also want to argue that the reductionist focus on discos male gay constituency underestimates and even undermines the political thrust of early seventies dance culture, whicattempted to create a democratic, cross-cultural community that was open-ended in its formation. Dance crowds were aware of their hybrid character as well as their proximity to the rainbow coalition of the counter culturamovements of the late 1960s, and having witnessed the repressive statreaction against Black Panther activists, Stonewall Inn drag queens, and Kent State University and Jackson State University anti-war demonstrators, thetook to exploring the social and cultural possibilities of the counter cultural movement in the relatively safe space of dance venues. In these settingsdancers engaged in a cultural practice that did not affirm their maleness or their femaleness, or their queer or straight predilections, or their black, Latin, Asian or white identifications, but instead positioned them as agents who could participate in a destabilizing or queer ritual that recast the experience of the body through a series of affective vectors.


Social dance

Whereas dancers in the 1960s took to the floor within the regulated structure of the heterosexual couple, dancers in the 1970s began to take to the floor without a partner. The transformation underpinned the historical experienceof gay male sexuality: the longstanding practice of cruising encouraged gay men to be open to the idea of moving onto the dance floor autonomously, while ongoing legal restrictions around male- male dancing encouraged gay male dancers to continue to take to floor and dance as singles- at least until the law that restricted men from dancing with each other was repealed in New York in December 1971. At the same time, however, the shift to solo dancing was partially inaugurated within the culture of the 1960s music festival, where women and men started to dance in a swaying motion to the sound of acid rock. Because of this, straight Sanctuary dancers who had participated in events such as Woodstock would have already been habituated to the idea of dancing solo, while others might have encountered the discourse of liberation that was so pervasive during this period else where. As George Clinton sang in 1970, Free your mind and your ass will follow.’ On the floor, dancers did not experience the displacement of couples dancing as an individualistic anisolationist prelude to the neo-liberal era, in which the principles of partnership and cooperation would be savaged, but instead as a new form of collective sociality that exceeded the potentially claustrophobic contours of the previous regime.

Aside from that regimes promotion of compulsory heterosexuality, the social dynamic of partnered dancing was necessarily limited because the men and women who formed dancing couples had to concentrate on their partnerin order to move rhythmically and expressively- and also avoid physical injury. As a result, dancing couples were internally focused, and communication with other dancers, never mind the musicians or the DJ, was a secondary matter. In contrast, the dancers who participated in the private party and public discotheque network of the early 1970s were able to develop free form movements, and because of this they experienced an increased ability to communicate and dance with multiple partners. As Frankie Knuckles, a male gay regular at the Loft, notes of that setting: You could be on the dance floor and the most beautiful woman that you had ever seen in your life would come and dance right on top of you. Then the minute you turned around a man that looked just as good would do the same thing. Or you would be sandwiched between the two of them, or between two women, or between two men, and you would feel completely comfortable.

The experience described by Knuckles does not merely describe thdisplacement of one sexual objective (to dance in order to seduce a member of the opposite sex) with another (to dance in order to seduce several members of both sexes). Bisexual promiscuity might be queerer than monogamous heterosexuality, but to entertain such a framing would be to entirely misread the function of the dance floor exchange by reducing it to intercourse. Instead dancers regarded the exchange as their primary objective, not as a means to an alternative end, and in contrast to the framing of earlier social dance forms, which were intended to service compulsory heterosexuality, the emergent dance milieu of the early 1970s articulated no equivalent function. While all manner of sexual liaisons could be read into the free flow of movement on the floor, with the opportunity for gay men to meet other gay men in a novel setting the most marked, participants, including male gay participants, have insisted that any intercourse that could come about at the end of the night was only exceptionally more than a secondary concern. This continued to be the case even at venues such as the Saint, the white gay private party that opened on the site of the old Filmore East in 1980, where sex could be enjoyed in the balcony area, but remained a side attraction for most. 

By turning on a single spot, then, dancers could move in relation to a series of other bodies in a near-simultaneous flow and as part of an amorphous and fluid entity that evokes Deleuze and Guattaris Body without Organs(BwO). Described by Ronald Bogue (2004, p. 115) as a decent red body thathas ceased to function as a coherently regulated organism, one that is sensed as an ecstatic, catatonic, a-personal zero-degree of intensity that is in no way negative but has a positive existence, the dance floor BwO contrasted with other crowd formations: the cinematic crowd because it was physically active rather than passive and in constant communication rather than silent; the sports stadium crowd because its attention was not directed to an exterior event; the marathon runner crowd because its pleasure was based not on remaininwithin the crowd but rather leaving it behind; and so on. In other words, the very being of the dance floor crowd revolved around its status as a collective intensity, and while its resonance with the often asexual Deleuzian concept of the BwO could lead some to question its queerness, its erotics of bodily pleasure- an erotics that intersected with gay liberation, the feminist movement, and the counter-cultural revolt against 1950s conformism- confirms its disruptive sexual intent.


The DJ

The second factor to consider with regard to the queering of the dance floor is the DJ, whose craft was transformed by the shifting social contours of the dance floor. Earlier DJs saw themselves as subservient waiters who served up music prepared elsewhere, or as puppeteers who could manipulate thdancers. Whatever their sense of self-worth, DJs were also charged with the responsibility of encouraging dancers to not only dance but also leave the floor and visit the bar, because that was how most venue owners made their money. But as the Sanctuary DJ Francis Grasso confided, the newfound collective force of the 1970s dance crowd meant he had to change his style. Grasso is interesting because he was the only employee to survive Seymour and Shelleybuyout of the Sanctuary, which means he witnessed the difference between playing to the regulated straight crowd and the more open, heterogeneous crowd that entered the venue at the beginning of 1970. When the Sanctuary went gay I didnt play that many slow records [records introduced to work the bar] because they were drinkers and they knew how to party,’ says Grasso. Just the sheer heat and numbers made them drink. The energy level was phenomenal. At one point I used to feel that if I brought the tempo down they would boo me because they were having so much fun.

 Of course dancers did not just communicate by booing the DJ. They would also clap and cheer and whistle, while the very energy of theimovements was also communicative, and it became the primary role of Grasso and his contemporaries to read the mood of the crowd and select a record that was appropriate for the moment. Because they were now attempting to both lead and respond, DJs contributed to a form of anti phonic music making that has characterized a great deal of African American music, and in order to increase the effectiveness of their playing in relation to the crowd, DJs started to segue and then beat-mix between records in order to maintain the rhythmic flow, or purchase two copies of the same record in order to extend the parts that their dancers particularly liked. As a result, a form of illegitimate music making emerged in which the conventional performing artist was displaced by the improvising figure of the DJ, who could draw on a wide repertoire of sounds and programme them within a democratic economy of desire. Thanks to the absence of the performing artist and the relative anonymity of the DJ, dancers began to respond to the sonic affect of the music rather than the image of the performing artist, and this unconventional circuit subtly challenged the hierarchical underpinnings of the music industry, in which the vocalistmusician and producer held an elevated position above the listener. Because the disembodied recording artist could be heard but not seen, the dancer could also begin to think of her or himself as a contributor to the collectively generated musical assemblage, and could also respond to the music outside of the hierarchical relations of artistry and fandom.


Dance music

Third, I would like to consider the position of pre-recorded music in this moment of flux and change. Again, the contrast with the 1960s is instructive, because whereas discotheque DJs of that era tended to play from a limited rockand roll repertoire that encouraged a similarly limited style of dance, and festivals/concerts from the same period tended to foreground the singular sound of rock, discotheque DJs of the early 1970s drew from a broad range of sounds. The term disco music’ did not emerge until 1973, and when it did it referred not to a coherent and recognizable generic sound, but instead to the far-reaching selection of R&B, soul, funk, gospel, salsa, and danceable rock plus African and European imports that could be heard in Manhattandiscotheques. Even when the sound of disco became more obviously recognizable during 1974 and 1975, DJs would intersperse the emergent genre with contrasting sounds. The introduction of sonic contrast andifference helped generate a sense of unpredictability and expectation on the dance floor, and the juxtaposition of different styles enabled dancers to experience existence as complex and open rather than singular and closed. In other words, DJs were generating a soundtrack that encouraged dancers to be multiple, fluid and queer.

At the same time, the disco genre, which drew together elements that could be found in R&B, soul, funk, gospel and so on, also generated a queer aesthetic, even in its singular incarnation, and this was something that was highlighted by Richard Dyer (1979/1995) in his article In Defence of Disco’Dyer, who completed his PhD at the Centre for Contemporary Cultural Studies in Birmingham, might have been isolated in his interest in gasexuality, and perhaps even his love of disco, in that setting; these elements of  popular culture received scant attention from other Cultural Studies scholars whose focus was directed towards class relations, the mods and the punks, government policy and, when Angela McRobbie (1980) raised her voice, gender. Dyer initially set out to defend disco from the leftist attack that, in contrast to folk as well as elements of rock, it amounted to little more than some kind of commercial sell-out, and his argument turned out to be apremonitory critique of the lefts reluctance to engage with the politics of pleasure. Yet it was Dyer's analysis of the aesthetic properties of disco music and the relationship of these properties to the body and conceptions of sexuality that is of greater concern here.

In the article, Dyer outlined a number of the key distinctions that existed between rock and disco. Whereas rock confined sexuality to the cock’ and was thus indelibly phallo-centric music’, disco, argued Dyerrestores eroticism to the whole body’ thanks to its ‘willingness to play with rhythm’and it does this ‘for both sexes’ (1979/1995, p. 523). Disco also offered dancers the chance to experience the body as a polymorphous entity that could be re-engineered in terms that confounded conservative models of masculinity and femininity, for as Dyer added: Its eroticism allows us to rediscover our bodies as part of this experience of materiality and the possibility of change’ (1979/1995, p. 527). In other words, disco opened up the possibility of experiencing pleasure through a form of non-penetrative sensation- and he made this case shortly before Michel Foucault, following a trip to the United States, called for the making of ones body a place for the production of extraordinary polymorphic pleasures, while simultaneously detaching it from a valorization of the genitalia and particularly of the male genitalia’ (Miller 1993,p. 269). Published in Gay Left, the bi-annual journal of a collective of gay mento which Dyer belongedIn Defence of Disco’ did not prompt a widediscussion about queer sexuality within the Cultural Studies discourse of the time, but three decades later that anomaly has been corrected. 

The preference of the early 1970s dance floor for polymorphous ratherthan phallic rhythms is illustrated by the contrast between Olatunji’s Drums of Passion’ and Santanas cover of the same track, which was re-titled Jingo’Whereas Santanas rock version developed a rigid beat and foregrounded the phallo-centric instrumentation of the electric guitar and the male voice, Olatunjis original recording emphasized rhythmic interplay along with a chorus of voices that developed a call-and-response interchange betweethemselves and also the drummers. The owner of both recordings, Grasso only played the Santana version when he DJed in front of the pre-Seymour and Shelley straight crowd at the Sanctuary, but when the crowd diversified at the beginning of 1970 he immediately realized he could start to play the Olatunji. As Grasso recounts: I said to myself, 'If Santana works then the real shit is going to kill them!’’ I was good at mixing one record into another so I played the Santana and brought in ‘‘Jin-Go-Lo-Ba’’. The crowd preferred thOlatunji, where theres no screaming guitar. They got into it straight away.’

Queerness could be harder to detect in the lyrics themselves, in large part because they drew so heavily on R&B’s heavily heterosexual thematics. Yet thanks to the support of a gay male constituency that was affluent enough to spend a significant amount of money on music, the black female diva became a key figure within disco, and vocalists such as Gloria Gaynor and Loleatta Holloway would go on to express their surprise that gay men should be their most fervent followers. Wronged by her man, Gloria Gaynor exemplified the way African American divas could be both emotionally articulate and grittily resistant when she recorded ‘I Will Survive’, which was released as a B-side until DJs and dancers homed in on the recording and prompted the record company to re-release the song as an A-side. In this instance, queerness had more to do with surviving heterosexuality than subverting it. 

Other tracks developed lyrics that were deliberately innocuous because their clipped, repetitive content was designed to accentuate the beat anpersuade the dancer to focus on affective sound rather than discursive meaning, while a third group of unknowingly queer recordings laid down heterosexual themes that turned out to be ripe for appropriation- so Free Man' by the South Shore Commission acquired a new layer of meaning when gay male dancers interpreted it as an anthem of gay liberation rather than a tussle between two straight lovers. Then again, sometimes the straight trajectory of a lyric did not have to be reinterpreted if the delivery was strong enough in the first place, and that turned out to be the case in elements of Loleatta Holloways rendition of  Hit and Run’. In his remix of the record, Walter Gibbons took out Holloways first rendition of a frankly embarrassing set of lines that included references to the vocalist being an old fashioned country girl’ who would know what to do’ when it comes to loving you. But when the vocalist returned to the theme in an improvised vamp that had been largely cut from the original release, the delivery was so remarkably forceful their lame meaning was rendered totally irrelevant.


Temporalities and technologies

Temporal strategies also contributed to the emergence of non-dominant experiences of the body in the dance environment of the 1970s. The practice of staging parties late at night became the founding premise of a culture that aimed to invert the priorities of a society organized around day time work, and the protection afforded by darkness as well as the protected space of the danceparty enabled disenfranchized citizens a level of expressiveness they rarely enjoyed during the day (something Judith Halberstam [2005] has commented on in her book In A Queer Times and Place). In addition, the forward march of teleological time- the time of bourgeois domesticity and capitalist productivity- was upset within the disco setting, where repetitive ancyclical beat cycles created an alternative experience of temporality and the absence of clocks enabled dancers to move into a realm in which work- the work of the dance- was not required to be productive in a conventional economic or indeed heterosexual sense. Within this setting, DJs drew on a range of records that cut across temporal and spatial boundaries in order to evoke and in some respects create a radically diverse sonic utopia. Theipractice of using two copies of a record to not only collapse but also extend time- by, say, extending a particularly popular section- culminated in the creation of a new disco format (the twelve-inch single) that enabled DJs to play long mixes that were specially remixed for the dance floor.

The emphasis on temporal length was important. If the record was long, the dancer had a greater opportunity to lose her or himself in the music, and therefore to enter into an alternative dimension that did not so much evacuate the site of the body as realign it within a new sonic reality. The new sonic reality turned out to be especially forceful in private party spaces (such as the pioneering Loft) that did not sell alcohol and could accordingly stay open long after the public discotheques that were governed by New Yorks cabaret licensing laws had to close. The extended hours encouraged partygoers toengage in marathon-style dance sessions in which the physical was prioritized over the rational, and this opened up participants to the experience of the body as an entity that was not bounded and distinctive, but rather permeable and connected.

The confined space of the dance floor, in which dancers would inevitably come into contact with one another, heightened the experience of the body as extended and open, and a range of sound system, drug and lightintechnologies enhanced this further. Julian Henriques (2003) has described the Jamaican sound system as a form of sonic dominance’, in which the sonic takes over from the visual and creates a community based on sound. In these situations, the sound permeates the body, and therefore creates a situation in which the bounded body (often characterized as the masculine body) is penetrated and becomes difficult to maintain as a separate and unified entity.This was precisely the kind of situation that was engineered in disco, where figures such as David Mancuso as well as engineers such as Richard Long and Alex Rosner introduced a range of technological innovations in ordeto produce both purer and more powerful sound. Drugs- in particular LSD- were consumed in order to further the dancers distance from the everyday and enable entry into an alternative experience of both time and space, as well as to encourage the body to form a connected alliance with sound. Meanwhile, lighting was deployed sparingly, because bodies were more likely to exceed everyday constrictions in an environment that emphasized the connective dimension of the aural above the separating dimension of the scopic (because sound enters the body more forcefully than light). In as much as lighting was used, it was usually aimed at creating disorienting effects, again in order to encourage the dancer to experience the dance floor as an alternative and experimental space.

The conjunctural moment of the early 1970s encouraged these elements and practices to be adopted by a significant range of dancers and venues. This, after all, was the period when the counter-cultural movement's discourse of change, liberation and internationalism continued to resonate; a range of newly-politicized yet disenfranchized groups doubled their efforts to seek out liberated spaces; state repression of political activists encouraged a migration from the dangerous site of the street to the protected haven of the club; the failure of the first wave of discotheque culture and simultaneous evacuation of downtown New York by light industry opened up a plethora of unused spaces that were perfect for dancing; and the music industry had yet to work out how it was going to respond following the failed political promises of rock culture. Along with the Loft and the Sanctuary, spaces such as the Haven, thLimelight, Salvation, Tambourine and Tamburlaine operated dance floors that were remarkably coherent in terms of their social and aesthetic practices. For a while, protagonists believed that they were forging a culture that would go onto reshape the world and in some respects their aspirations have been borne out, if only because so many of their then nascent practices continue to echo. Yet the queer potential of the early 1970s dance floor also proved to be vulnerable to various forms of dilution and co-option, and this procesunfolded in three notable ways.

First, a range of party organizers and accomplice dancers sought to split up the early disco scene into a series of discreet groups that were organized around identity, and this led to an inevitable closing down of the demographic range on New Yorks dance floors as well as the emergence of a more normative and static conception of what kind of identities could be articulatedin the dance setting. De facto white-only male gay venues such as the Tenth Floor and Flamingo, which deployed Mancusos private party template to consolidate a self-anointed A-list’ crowd, could be seen as examples of this kind of practice. Of course these venues catered to a demand because a significant fraction of white gay men considered themselves to be part of some kind of elite that was organized around beauty, professional success anintelligence, and only wanted to dance with men they judged to be their equals. What is more, participants in this stratum of New York dance culture regularly perceived their actions to be politically radical, because gay culture was still historically marginal and the practices of disco were understood to be aesthetically progressive. The tribal experience remained powerful and stoodas a challenge to many conservative practices. But it did not include people who were not white and male, and therefore revealed the way in whicdance venues that were organized around gay men could enact an otherwise regressive social agenda. Largely excluded from these venues, lesbian women opened their first dedicated discotheque, the Sahara, in 1976; the four lesbian women who ran the business made a point of introducing a weekly slot when men could participate. 

Second, as the demographic constituency of disco was divided ansubdivided, a number of promoters began to seek out what they perceived to be an elite dance crowd, and this resulted in the introduction of a marked hierarchy with the dance scene from 1977 onwards, when a series of huge midtown mega-discotheques opened on the premise that they would cater to an elite audience that was organized around fashion, film and so on. The most famous of these was Studio 54, which bore some unlikely links to the culture of the Loft, but ultimately instituted a competitive and hierarchical entrance policyHuge crowds would form outside the venue every night, and while the owners declared their intention to create a democratic mix inside, the prevailing culture was one of cruel exclusion. It followed that a venue that was so self-absorbed with its status would pay more attention to the scopic than the aural to lighting rather than sound, to being seen as a form of validation, and to the possible presence of a celebrity and so the primary activity at Studio was not dancing but looking. For reasons already outlined, this undermined the venues potential to function as a space of queer becoming.

Third, in order to sell disco to the perceived mass market- the suburban market, or the Middle American market- entrepreneurs reframed disco as the popular site for patriarchal masculinity and heterosexual courtship. The most notable example of this involved the filming of Saturday Night Fever, which was released at the end of 1977. Organized around the culture of the suburban discotheque and the figure of Tony Manero, played by John Travolta, the filmenacted the reappropriation of the dance floor by straight male culturin as much as it became a space for straight men to display their prowess and hunt for a partner of the opposite sex. The film also popularized the hustle (a Latin social dance) within disco culture, and in so doing reinstituted thstraight dancing couple at the centre of the dance exchange. In an equally regressive move, the soundtrack was dominated by the Bee Gees, whicthreatened to leave viewers with the impression that disco amounted a new incarnation of shrill white pop. None of this would have mattered if the film had sunk without a trace, but it went on to break box office and album sale records, and in so doing established an easily reproducible template for disco that was thoroughly de-queered in its outlook.

By 1979 conditions were ripe for a backlash against disco. Following the unexpected commercial success of Saturday Night Fever, major record companies had started to invest heavily in a sound that their white straight executive class did not care for, and when the overproduction of disccoincided with a deep recession, the homophobic (and also in many respects sexist and racist) disco sucks’ campaign culminated with a record burning rally that was staged at the home of the Chicago White Sox in July 1979. The coalition of disenfranchized citizens that lay at the heart of disco culture were identified as the beneficiaries of 1960s liberalism, which in turn was blamed for the economic failure of the 1970s. As Stuart Hall (1989) and others have argued, this turn to a conservative discourse complemented and in many respects underpinned the accelerating shift to the individualistic, market-driven priorities of what was then referred to as the New Right, and which is now more commonly described as neo-liberalism.

Yet the backlash did not mark an end to disco per se, because the Loft and its multiple off shoots, including the legendary Paradise Garage, which was modelled on Mancusos party, continued to organize their dance floors according to the communal and explorative principles set out at the beginning of the 1970s. Indeed Richard Dyer ended up travelling to live in New York between February and September 1981, and having danced at the Paradise Garage, started to develop the philosophical framework that culminated in the publication of White (1997). In effect, the perceived failure of disco was really therefore the failure of a form of disco that valorized the patriarchal, the heterosexual and the bourgeois, and not the queer disco that I have outlined in this article. As such, the failure was not so much a failure of queerness as a failure of the regressive attempts to contain queerness and appropriate disco. This failure of the dominant rather than the queer would become more explicit in the period that ensued the backlash against disco, when non-hegemonic forms of dance culture flourished. That they, too, failed to become hegemonicis another story altogether.


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