Podcasts about continental baths

When Garrett Glaser came out as gay to his mother at age fourteen, she said, “You are going to a psychiatrist right now, young man! We are going to nip this in the bud.” Fortunately, she came around to accept her son's orientation, and Garrett used his psychiatric sessions to address the challenges of finding a boyfriend.It was 1967, and Garrett was a tenth grader at the prestigious Dalton School in New York City. When he graduated, the headmaster was heard to say of Garrett and his friend, “We just graduated our first fags.” Such was the world before the Stonewall rebellion. It was a time before rainbow flags, when very few gay people were able to live honestly and openly.Garrett was an unusually adventurous and self-assured teenager. In FAIRYBOY, readers will follow as he explores the hidden world of gay New York, from the infamous “trucks” along the West Side Highway to the Continental Baths in its opening weeks.Garrett grew up to become an Emmy Award-winning TV news correspondent, with stints at CNBC, NBC, ABC, CBS and Entertainment Tonight. During his thirty-year career, he interviewed the biggest stars and notables of the era, from Elizabeth Taylor and President George H.W. Bush to Oprah Winfrey and even Charles Manson.In FAIRYBOY, Garrett muses on changes in gay politics over the decades and weaves stories demonstrating the importance of mentors—and of remaining true to oneself.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

When Garrett Glaser came out as gay to his mother at age fourteen, she said, “You are going to a psychiatrist right now, young man! We are going to nip this in the bud.” Fortunately, she came around to accept her son's orientation, and Garrett used his psychiatric sessions to address the challenges of finding a boyfriend.It was 1967, and Garrett was a tenth grader at the prestigious Dalton School in New York City. When he graduated, the headmaster was heard to say of Garrett and his friend, “We just graduated our first fags.” Such was the world before the Stonewall rebellion. It was a time before rainbow flags, when very few gay people were able to live honestly and openly.Garrett was an unusually adventurous and self-assured teenager. In FAIRYBOY, readers will follow as he explores the hidden world of gay New York, from the infamous “trucks” along the West Side Highway to the Continental Baths in its opening weeks.Garrett grew up to become an Emmy Award-winning TV news correspondent, with stints at CNBC, NBC, ABC, CBS and Entertainment Tonight. During his thirty-year career, he interviewed the biggest stars and notables of the era, from Elizabeth Taylor and President George H.W. Bush to Oprah Winfrey and even Charles Manson.In FAIRYBOY, Garrett muses on changes in gay politics over the decades and weaves stories demonstrating the importance of mentors—and of remaining true to oneself.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Because there is no such thing as too much Eleanor Steber, today's episode once again features the prodigiously gifted singer, in my opinion the greatest soprano the United States has ever produced, singing a dizzying range of material, most of it recorded live between the years 1958 and 1979. These recordings were nearly all private releases on Steber's own record labels.. First, ST/AND Records, which she formed with her second husband Gordon Andrews, and which between 1960 and 1962 produced approximately fifteen LPs, all but one of them featuring Steber. Second, recordings released under the aegis of the Eleanor Steber Music Foundation, which she formed in 1973 and which released a few choice live recordings of Steber's late career recitals. The material ranges from selections from the Christian Science Hymnal, piously presented; sentimental ballads, tackily arranged; Bach and Mozart arias; art songs by Rorem, Barber, Britten, Debussy, Berg, and Beethoven; and opera arias from I Puritani, Der Freischütz, Giulio Cesare, and Tosca, the last performed at her campy Live at the Continental Baths concert in October 1973. Though as Steber grew older, her voice occasionally sounded blowsy, on the vast majority of these recordings she sounds stunningly good. And no matter what repertoire she was singing, her impeccable technique and pristine musicianship remained intact throughout. Much of source material from which these performances stem is exceedingly rare, and for the most part difficult and costly to obtain. So in my role as supreme Steber groupie, I am honored and thrilled to share these recordings, all of them from my own personal collection. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Jess is joined by beloved go-to comedy writer BRUCE VILANCH! Topics: Bette Midler at the Continental Baths, Barbra Streisand being too cheap to pay him, writing punch-ups for Cher in "Burlesque," writing The Oscars (Ellen difficulty, Anne Hathaway & James Franco hosting, Billy Crystal's opening medleys), starring in "Hairspray" on Broadway & more!  IG: @jessxnyc  Jess' docu-series on the history, mystique & lore of Fire Island: Finding Fire Island

Le musicien, enseignant, conférencier et chroniqueur pour Soul Bag et New Morning Radio, Belkacem Meziane est notre invité pour la nouvelle édition de son livre "Disco : 100 hits de 1972 à nos jours" (Le Mot et le Reste). Un livre qui revient sur les origines, l'âge d'or et l'héritage du disco, qui reste encore aujourd'hui l'essence profonde de la dance music. New York, 1974. Cela fait déjà quelques années que les communautés gay, noire et latine se côtoient et se mélangent sur les dancefloors du Loft, du Continental Baths ou de la Gallery. Véritables temples de la libération sexuelle et des paradis artificiels, ces nouveaux lieux baptisés « discothèques », sont le terrain de jeu des DJ, qui chaque week-end, font danser sur de la soul, du funk ou des raretés afros et latines, une foule venue oublier les tourments d'une époque en pleine crise économique et existentielle. C'est l'explosion du phénomène disco qui, entre 1974 et 1979, va envahir le monde entier et changer le cours de l'histoire de la musique. Donna Summer, Gloria Gaynor, les Bee Gees ou Chic deviennent les héros de ce mouvement qui, en plus de faire danser, accompagne les revendications de minorités jusqu'ici silencieuses. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Welcome to another episode of ElecSoul, where we celebrate the legends of Black electronic dance music. Today, we honour the "Godfather of House Music," Frankie Knuckles, on what would have been his 70th birthday. Through his music, collaborations, and legacy, Frankie transformed the dance music scene and gave birth to house music as we know it. Over the next 60 minutes, we'll take a journey through his life, his artistry, and his enduring influence, playing iconic tracks along the way. Frankie Knuckles was born Francis Nicholls on January 18, 1955, in the Bronx, New York. Growing up in the 1970s, he was inspired by the emerging disco and soul scenes. Frankie began his career as a DJ alongside his lifelong friend, Larry Levan, at the legendary Continental Baths in New York City. The pair's seamless blending of disco, funk, soul, and European electronic records laid the foundation for what would later evolve into house music. Tracklist: www.djrobbieduncan.com/elecsoul ElecSoul is a weekly podcast hosted by DJ Robbie Duncan, a passionate selector known for his seamless blending of genres and deep knowledge of global Black music. Running since 2020, the show explores jazz, soul, future R&B, and soulful house, offering listeners a journey through timeless sounds and cutting-edge electronic music. Based in Stroud, a town renowned for its creative community, DJ Robbie Duncan brings his expertise and love for music to every episode, celebrating the richness and diversity of the music scene. ElecSoul is released weekly on SoundCloud & Apple Podcasts.

Aujourd'hui, dans La Partition, plongeons dans l'univers fascinant de Bette Midler, l'une des plus grandes figures de la culture populaire américaine. Cette artiste aux multiples talents, qui vient de fêter ses 79 ans, a su s'imposer au fil des années comme une véritable icône, tout en explorant avec brio les différentes facettes du show-business.Originaire d'Hawaï, Bette Midler a toujours rêvé de monter sur scène. Après des débuts modestes, elle part à la conquête de New York et s'impose rapidement sur la scène des cabarets et des cafés-théâtres grâce à son charisme, son humour caustique et sa voix exceptionnelle. C'est dans les légendaires Continental Baths, haut lieu de la communauté gay new-yorkaise, qu'elle va se faire connaître et devenir incontournable.Accompagnée au piano par Barry Manilow, Bette Midler séduit le public avec ses reprises de standards de la chanson et ses sketchs hilarants. Sa prestance et son personnage de "Divine Miss M" font rapidement d'elle une star adulée par la jet-set new-yorkaise, de Andy Warhol à Liza Minnelli.

In this episode Tim and Jeremy continue the story of Frankie Knuckles first year at the controls of the seminal Chicago nightclub, the Warehouse. We hear an investigation of Frankie's early musical aesthetic, how it would lend itself to the development of the House sound some years later, and whether stability or dynamism are better for a pumping dance floor. Elsewhere in the episode we hear about how Robert Williams came to know Frankie and Larry Levan, the experiences the two young club kids had at the Continental Baths, the understated role of social workers in the story of dance history, and what the PMC have to do with Afrika Bambaataa. Plus - stolen donuts, LSD in the fish tank, and Jeremy's dreams of lamé… Produced by Matt Huxley. Due to licensing issues, we can only play short clips of the music discussed. If you'd like to listen along to the full tracks, we have an ever-expanding Spotify playlist hosting (most) of the tracks played in the show. You can find Series 6 here: https://open.spotify.com/playlist/3ZpKyqhvhOXfTuPMHCBkFs Tracklist: The Osmonds - One Bad Apple The Originals - Down to Love Town Roy Ayres - Running Away  Pam Todd & Love Exchange - Let's Get Together First Choice - Let No Man Put Asunder Made in USA - Melodies 

Watch/Listen to this and all episodes ad free by joining the ITBR Patreon and get a free trial for the ITBR Professor level! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/ivorytowerboilerroom⁠⁠ ⁠⁠⁠⁠ Just in time for Halloween, I am joined with author Kevin Winkler who has all of the Bette Midler insight, including her filming of "Hocus Pocus." Kevin provides the origin story for his Bette enthusiasm and how he came to write "On Bette Midler: An Opinionated Guide" (published this year). At a young age, he connected with Bette's unconventional persona and how it resonated with him as a shy, young gay man. Kevin describes how Bette built a following performing in underground venues like the Continental Baths before breaking through to mainstream success on TV, in film, and as a concert performer. He discusses how she was able to maintain her authentic persona and appeal to broader audiences. Kevin highlights Bette's philanthropic work, including founding the New York Restoration Project to revitalize green spaces in the city. He also notes her willingness to be politically outspoken and use her platform for social causes. Kevin and I discuss trends in Broadway, including the continued appeal of star-driven vehicles and the challenge for more ensemble-focused shows to gain traction. They also reflect on the legacies of choreographers like Bob Fosse in shaping the Broadway landscape. In closing, Kevin shares how writing the book on Bette has inspired him to emulate her fearlessness, activism, and commitment to taking initiative, rather than waiting for others to act. Get your hands on his book here: ⁠https://www.goodreads.com/book/show/197189663-on-bette-midler⁠ You can follow Kevin for all of his theater and film insight on Facebook, ⁠@kevin.winkler.3517⁠ Follow ITBR on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Our Sponsors: To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe, and enter promo code ITBR50 to receive 50% off any print or digital subscription. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow That Ol' Gay Classic Cinema on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Be sure to follow The SoapBox on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and visit their website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.soapboxny.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to get your hands on their luxurious bath and body products! Thanks to the ITBR team! Dr. Andrew Rimby (Host and Director), Mary DiPipi (Chief Contributor), and Christian Garcia (Social Media Coordinator)

On today's episode author Kevin Winkler returns for the second part of our discussion of his fascinating new book, On Bette Midler — An Opinionated Guide. If you missed part one of this conversation, you may want to catch up with that before listening to this one. In that episode, Kevin and I touched on Bette's childhood, explored her early years in the off-off-Broadway experimental and very campy Gay theater scene, detailed her unusual rise to at least demi-stardom at the Continental Baths, her debut on Broadway in Fiddler On The Roof, and her Tony Award wining concert at the Palace Theater which set the stage for the first of what Kevin calls her Broadway musicals of her own devising: Bette Midler's Clams On The Halfshell Revue, conceived and staged by Broadway director/choreographer Joe Layton, and the shows that followed. For more than twenty years Kevin Winkler was a curator, archivist, and administrator at the New York Public Library, and prior to that, he was a professional dancer. His previous books include the award-winning Big Deal: Bob Fosse and Dance in the American Musical in 2018, and Everything is Choreography: The Musical Theatre of Tommy Tune. Kevin and I discussed that terrific book on several episodes of Broadway Nation back at the beginning of 2022. Become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including long time member, ANNE WELSH. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Bette Midler today is a beloved legacy star, best known for her comic witch in Disney's Hocus Pocus (1993) and its 2022 sequel. She has also gained prominence for sentimental, anthemic ballads like "Wind Beneath My Wings," her initiation of green space projects in New York City, and tussling with Donald Trump on Twitter. Her profile is that of an articulate, civic-minded matriarch enjoying thoroughly mainstream stardom. But more than fifty years earlier she emerged from the steam of the subterranean Continental Baths as the Divine Miss M, the bawdy, campy, fearless alter ego she created in front of an audience of towel-clad gay men who came to the baths seeking not just sex, but a sense of community and safety from an often-harrowing outside world. "I was able to take chances on that stage that I could not have taken anywhere else," she later wrote. "Ironically, I was freed from fear by people who, at the time, were ruled by fear. And for that I will always be grateful." Overnight, Bette Midler became a much-loved icon of the gay community.    

On a new TAGS LIVE aka Talk About Gay Sex the live edition, Host Steve V. and Co-host Kodi Maurice Doggette are back with all new LGBTQ topics, sex and relationship advice and so much more:Celebrating Valentine's Day with the hosts Speed DatingAdvice to a listener on keeping up with the 'gay lifestyle'...how do they do it?Follow up on the 'raids' in Seattle's gay bars...Steve Ostrow dies at 91 - remembering the Continental Baths he createdSecrets we keep from straight people...Advice to handling an open relationship and STI's...Thirst TrapFollow Will Tantra on IG: @tantricfitness on Twitter: @tantricfitnessSteve V's Link Tree: https://linktr.ee/stevev52Follow Steve V. on IG: @iam_stevevFollow Kodi's Life Coaching on IG: @kmdcoachingFollow Kodi Maurice Doggette on IG: @mistahmauriceWanna drop a weekly or one time tip to TAGSPODCAST - Show your love for the show and support TAGS!Visit our website: tagspodcast.comNeeds some advice for a sex or relationship conundrum? Ask TAGS! DM US ON IG or https://www.talkaboutgaysex.com/contactFollow Of a Certain Age on IG: @ofacertainagepod

In this week's episode, Patrick and Tommie discover dogs are good for your health, salute Corporal Smoky the Yorkshire Terrier, pay tribute to Charles Dickens and Eubie Blake, pay their respects to Carl Weathers, Don Murray, Toby Keith, and the man who owned the legendary Continental Baths, stop at the Caffe Cino, learn who started Black History Month and the origin of "the bonfire of the vanities", debate the "Italianess" of fettucine alfredo, laugh at the Russian police and the dangerous rainbow frog earrings, and name their favorite 20th century R&B/soul singers.

Meg checks out the 60 person jacuzzi and meatball buffet at Plato's Retreat. Jessica examines how Looking for Mr. Goodbar became a litmus test for sexism thanks to an introspective detective.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

This week on Echoes of Indiana Avenue we'll celebrate the music of Dawn Hampton – best known for her work as a jazz and cabaret singer. Dawn was a member of Indianapolis' legendary Hampton family and performed extensively on the Avenue during the 1940s, and ‘50s. During the 1960s, and ‘70s Dawn became a popular singer in New York City, where she was known as the “queen of cabaret.” Dawn developed a loyal following among gay men in New York and performed at legendary gay venues in the city - including Stonewall and the Continental Baths.

James, Randy and Fenton's longtime friend Man Parish, of "Hip Hop Be Bop (Don't Stop)" fame, reminds us of his role in the rise of electronic/dance music in the '80s. They discuss Man seeing Bette Midler perform at the Continental Baths, briefly dating photographer Christopher Makos, and recording Fenton's favorite song "Six Simple Synthesizers". 

In this episode Jeremy is reunited with Tim to explore the early life and times of the legendary DJ Larry Levan. We hear about his youthful friendship with fellow DJ (and future leading light of House) Frankie Knuckles as they embed themselves deep in early 70s dance floor culture, taking us not just to discos but to rent parties, drag balls and The Continental Baths.  Naturally, we look at the role David Mancuso played both in inspiring Larry and in advancing his career, and shout out one of his less well-known mentors, T Scott, alongside the ever-present Nicky Siano. Tim and Jeremy also discuss shame, the Hustle and Mick Jagger's strut, and ask the question: should we all be playing more musical theatre records? Become a patron at Patreon.com/LoveMessagePod And check out our new website: https://www.loveisthemessagepod.co.uk/ Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Tracklist:B.B. King - Philadelphia Shirley & Company - Shame Shame ShameConsumer Rapport - Ease On Down The RoadDonald Byrd - Change (Makes You Want To Hustle)Babe Ruth - Elusive

Bette Midler talks about why she'd love to be on “The White Lotus,” her early days playing the Continental Baths and being honored by the Costume Designers Guild. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our mini-series on the Downtown gay scene continues in earnest, so grab your towel because we're visiting the iconic Continental Baths. Tim and Jeremy give the history of this seminal space, charting the various forms of bathhouse culture since Antiquity, and exploring the role of promiscuous, anonymous and/or public gay sex through time. They also discuss 'queerness' as a radical act, heternormativity, the decriminalisation of gay sex and the utopian aspirations for radical changes to ways of living that characterised New York in the early 70s. Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Become a patron at Patreon.com/LoveMessagePod And check out our new website: https://www.loveisthemessagepod.co.uk/ Tracklist: Bette Midler - Do You Want To Dance? Bobby Byrd - Hot Pants (I'm Coming, I'm Coming) The Equals - Black Skinned Blue Eyed Boys The Staple Singers - I'll Take You There Books: Guy Hocquenghem - Homosexual Desire Deleuze and Guattari - Anti-Oedipus

The Mafia and the Gays meticulously documents how the mob controlled gay bars for decades in New York and Chicago due to their once illicit status, and relies upon an extensive collection of primary sources including FBI files many of which were not publicly available until acquired by author Phillip Crawford Jr. through the Freedom of Information Act. Mr. Crawford illustrates how the gay bars historically were integrated into the Mafia rackets. For example, the establishments often were financed through mob-tied coin-op vendors and their related loan companies. Jukebox king Alfred Miniaci funded dozens of gay bars and other joints controlled by the Mafia in the 1950s and 1960s including the Peppermint Lounge. Miniaci supplied slot machines in the 1930s to Frank Costello, and had dined with the mob boss on the May 2, 1957 night he was shot. Gay bars sometimes served as drug drops. Forget about the pizza connection; this was the pansy connection. Club 82 in New York's East Village was a popular club with drag revues, and in the 1950s also was part of the distribution network in the Genovese family's heroin trade for which boss Vito was convicted in 1959. Gay bars were profit centers for all the Mafia families. Among the powerful mobsters who oversaw vast interests in LGBT nightlife were Gambino underboss Aniello Dellacroce, Genovese capo Matty Ianniello, Colombo underboss Sonny Franzese in New York and Joseph DiVarco who ran the Rush Street crew on the Near North Side for the Outfit in Chicago. The Mafia had ties to some of the most iconic gay establishments including the Continental Baths in the Hotel Ansonia from 1969 to 1976 on the Upper West Side which received protection from the Colombo family in exchange for installing its vending machines. Continental owner Steve Ostrow – a classically-trained opera singer – developed such close ties with Joe Colombo that he was performing "The Star-Spangled Banner" at the June 29, 1970 Italian-American Unity Day rally in Columbus Circle when the mob boss was shot. The LGBT community once was married to the mob out of forced necessity but after gay bars became legal the relationship often continued in many establishments out of mutual convenience. Gay bars no longer were busted simply for homosexual assembly but they still risked raids if serving as sex clubs or drug drops. Accordingly, the mob still had both services to provide and protection to offer particularly during the party decades following the Stonewall riots. If a bar had a back room for anonymous sex, operated afterhours or sold drugs or boys, then odds are it was a Mafia joint, and that involved numerous places during the 1970s and 1980s. Indeed, the Mafia hijacked gay liberation for political cover and used so-called Auntie Gays as frontmen for their bars to evade suspicion. The wiseguys allegedly even infiltrated the Christopher Street Liberation Day Committee and Christopher Street Festival Committee which ran New York City's gay pride parade and some related events for much of the 1970s and 1980s. Over the decades there has been a fair number of gay guys in the mob's ranks including cross-dressing Genovese soldier David Petillo who once was a boy prostitute, hitman Vito Arena from Roy DeMeo's Gambino crew and DeCavalcante boss John D'Amato. There is no shortage of bad gays in The Mafia and the Gays, and most disturbing are the allegations of the mob's role in running underage boy prostitution rings.

The Mafia and the Gays meticulously documents how the mob controlled gay bars for decades in New York and Chicago due to their once illicit status, and relies upon an extensive collection of primary sources including FBI files many of which were not publicly available until acquired by author Phillip Crawford Jr. through the Freedom of Information Act. Mr. Crawford illustrates how the gay bars historically were integrated into the Mafia rackets. For example, the establishments often were financed through mob-tied coin-op vendors and their related loan companies. Jukebox king Alfred Miniaci funded dozens of gay bars and other joints controlled by the Mafia in the 1950s and 1960s including the Peppermint Lounge. Miniaci supplied slot machines in the 1930s to Frank Costello, and had dined with the mob boss on the May 2, 1957 night he was shot. Gay bars sometimes served as drug drops. Forget about the pizza connection; this was the pansy connection. Club 82 in New York's East Village was a popular club with drag revues, and in the 1950s also was part of the distribution network in the Genovese family's heroin trade for which boss Vito was convicted in 1959. Gay bars were profit centers for all the Mafia families. Among the powerful mobsters who oversaw vast interests in LGBT nightlife were Gambino underboss Aniello Dellacroce, Genovese capo Matty Ianniello, Colombo underboss Sonny Franzese in New York and Joseph DiVarco who ran the Rush Street crew on the Near North Side for the Outfit in Chicago. The Mafia had ties to some of the most iconic gay establishments including the Continental Baths in the Hotel Ansonia from 1969 to 1976 on the Upper West Side which received protection from the Colombo family in exchange for installing its vending machines. Continental owner Steve Ostrow – a classically-trained opera singer – developed such close ties with Joe Colombo that he was performing "The Star-Spangled Banner" at the June 29, 1970 Italian-American Unity Day rally in Columbus Circle when the mob boss was shot. The LGBT community once was married to the mob out of forced necessity but after gay bars became legal the relationship often continued in many establishments out of mutual convenience. Gay bars no longer were busted simply for homosexual assembly but they still risked raids if serving as sex clubs or drug drops. Accordingly, the mob still had both services to provide and protection to offer particularly during the party decades following the Stonewall riots. If a bar had a back room for anonymous sex, operated afterhours or sold drugs or boys, then odds are it was a Mafia joint, and that involved numerous places during the 1970s and 1980s. Indeed, the Mafia hijacked gay liberation for political cover and used so-called Auntie Gays as frontmen for their bars to evade suspicion. The wiseguys allegedly even infiltrated the Christopher Street Liberation Day Committee and Christopher Street Festival Committee which ran New York City's gay pride parade and some related events for much of the 1970s and 1980s. Over the decades there has been a fair number of gay guys in the mob's ranks including cross-dressing Genovese soldier David Petillo who once was a boy prostitute, hitman Vito Arena from Roy DeMeo's Gambino crew and DeCavalcante boss John D'Amato. There is no shortage of bad gays in The Mafia and the Gays, and most disturbing are the allegations of the mob's role in running underage boy prostitution rings.

The Mafia and the Gays meticulously documents how the mob controlled gay bars for decades in New York and Chicago due to their once illicit status, and relies upon an extensive collection of primary sources including FBI files many of which were not publicly available until acquired by author Phillip Crawford Jr. through the Freedom of Information Act. Mr. Crawford illustrates how the gay bars historically were integrated into the Mafia rackets. For example, the establishments often were financed through mob-tied coin-op vendors and their related loan companies. Jukebox king Alfred Miniaci funded dozens of gay bars and other joints controlled by the Mafia in the 1950s and 1960s including the Peppermint Lounge. Miniaci supplied slot machines in the 1930s to Frank Costello, and had dined with the mob boss on the May 2, 1957 night he was shot. Gay bars sometimes served as drug drops. Forget about the pizza connection; this was the pansy connection. Club 82 in New York's East Village was a popular club with drag revues, and in the 1950s also was part of the distribution network in the Genovese family's heroin trade for which boss Vito was convicted in 1959. Gay bars were profit centers for all the Mafia families. Among the powerful mobsters who oversaw vast interests in LGBT nightlife were Gambino underboss Aniello Dellacroce, Genovese capo Matty Ianniello, Colombo underboss Sonny Franzese in New York and Joseph DiVarco who ran the Rush Street crew on the Near North Side for the Outfit in Chicago. The Mafia had ties to some of the most iconic gay establishments including the Continental Baths in the Hotel Ansonia from 1969 to 1976 on the Upper West Side which received protection from the Colombo family in exchange for installing its vending machines. Continental owner Steve Ostrow – a classically-trained opera singer – developed such close ties with Joe Colombo that he was performing "The Star-Spangled Banner" at the June 29, 1970 Italian-American Unity Day rally in Columbus Circle when the mob boss was shot. The LGBT community once was married to the mob out of forced necessity but after gay bars became legal the relationship often continued in many establishments out of mutual convenience. Gay bars no longer were busted simply for homosexual assembly but they still risked raids if serving as sex clubs or drug drops. Accordingly, the mob still had both services to provide and protection to offer particularly during the party decades following the Stonewall riots. If a bar had a back room for anonymous sex, operated afterhours or sold drugs or boys, then odds are it was a Mafia joint, and that involved numerous places during the 1970s and 1980s. Indeed, the Mafia hijacked gay liberation for political cover and used so-called Auntie Gays as frontmen for their bars to evade suspicion. The wiseguys allegedly even infiltrated the Christopher Street Liberation Day Committee and Christopher Street Festival Committee which ran New York City's gay pride parade and some related events for much of the 1970s and 1980s. Over the decades there has been a fair number of gay guys in the mob's ranks including cross-dressing Genovese soldier David Petillo who once was a boy prostitute, hitman Vito Arena from Roy DeMeo's Gambino crew and DeCavalcante boss John D'Amato. There is no shortage of bad gays in The Mafia and the Gays, and most disturbing are the allegations of the mob's role in running underage boy prostitution rings.

Looking for the Magic: New York City, the '70s & the Rise of Arista Records by Mitchell Cohen. The book is a historical remix, a fresh perspective on how one record company, Arista Records, reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. It sounded like the city it was at the geographical center of. From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this. Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting edge jazz (Anthony Braxton) and its embracing of rock royalty (Lou Reed, the Grateful Dead). Looking for the Magic (named after a song by Arista group the Dwight Twilley Band) takes the reader behind the scenes, to the Kinks' backstage fights, Lou Reed's on stage diatribes, and to CBGB's, Kenny's Castaways and the Continental Baths. We find out how "Because the Night" made its way from Bruce Springsteen to Patti Smith; how Barry Manilow went from obscurity to stardom; how MTV ushered in a second British Invasion for bands like the Thompson Twins and Haircut One Hundred; and how Arista formed alliances with adventurous labels like Stiff and Ze Records.

Looking for the Magic: New York City, the '70s & the Rise of Arista Records by Mitchell Cohen. The book is a historical remix, a fresh perspective on how one record company, Arista Records, reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. It sounded like the city it was at the geographical center of.From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this.Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting edge jazz (Anthony Braxton) and its embracing of rock royalty (Lou Reed, the Grateful Dead).Looking for the Magic (named after a song by Arista group the Dwight Twilley Band) takes the reader behind the scenes, to the Kinks' backstage fights, Lou Reed's on stage diatribes, and to CBGB's, Kenny's Castaways and the Continental Baths. We find out how "Because the Night" made its way from Bruce Springsteen to Patti Smith; how Barry Manilow went from obscurity to stardom; how MTV ushered in a second British Invasion for bands like the Thompson Twins and Haircut One Hundred; and how Arista formed alliances with adventurous labels like Stiff and Ze Records.

Looking for the Magic: New York City, the '70s & the Rise of Arista Records by Mitchell Cohen. The book is a historical remix, a fresh perspective on how one record company, Arista Records, reflected its place and time, New York in the 1970s and early 1980s. Through interviews with dozens of artists and executives, music journalist Mitchell Cohen goes inside the business of making and marketing music during this vibrant and diverse period. Under Clive Davis, rock, pop, punk, jazz, R&B, disco, cabaret and Broadway were all represented on Arista. It sounded like the city it was at the geographical center of. From its inception as a new entity built on the pop and soul foundation of Bell Records, to groundbreaking artists like Gil Scott Heron and Patti Smith, to revitalized legends like the Kinks and Aretha Franklin, up to its launching of its biggest star, Whitney Houston, Arista Records' story has never been told like this. Looking for the Magic covers the wide scope of the label's roster: its giant pop successes (Barry Manilow), its dedication to cutting edge jazz (Anthony Braxton) and its embracing of rock royalty (Lou Reed, the Grateful Dead). Looking for the Magic (named after a song by Arista group the Dwight Twilley Band) takes the reader behind the scenes, to the Kinks' backstage fights, Lou Reed's on stage diatribes, and to CBGB's, Kenny's Castaways and the Continental Baths. We find out how "Because the Night" made its way from Bruce Springsteen to Patti Smith; how Barry Manilow went from obscurity to stardom; how MTV ushered in a second British Invasion for bands like the Thompson Twins and Haircut One Hundred; and how Arista formed alliances with adventurous labels like Stiff and Ze Records.

The strange, scandalous and sex-filled story of the Ansonia, an Upper West Side architectural gem and a legendary musical landmark. In the television show Only Murders in the Building, Martin Short, Steve Martin and Selena Gomez play podcasters attempting to solve a mystery in a building full of eccentric personalities. Their fictional apartment building is called The Arconia, a name partially inspired by The Ansonia, a former residential hotel with a history truly stranger than fiction. Built by the copper scion W.E.D Stokes, the lavish Ansonia remains one of the grandest buildings on the Upper West Side. But its hallways have seen some truly dramatic events including one of the greatest sports crimes in American history. Today the Ansonia is still known as the home for great musicians and many of the most famous composers and opera stars have lived here. But it's the music legacy of the Continental Baths, a gay bathhouse once in its basement, that may resonate with pop and rock music lovers as the launching pad for one of America's great performers. PLUS: The hedonistic disco delights of Plato's Retreat. NOTE: This show feature discussions of adult sex clubs and bathhouses. Although the show does not linger on the specifics, parental guidance is nonetheless suggested.  boweryboyshistory.com Support the show: https://www.patreon.com/boweryboys See omnystudio.com/listener for privacy information.

“2, 4, 6, 8. Gays unite to smash the State!”You can support the new Queer Serial sister series “Give ‘Em Hell, Harry! The Man Who Kept Harvey Milk's Dream Alive” on Indiegogo! Click here, and you'll receive some fabulous gifts — like postcards of the White Night Riots and Harry Britt with Jane Fonda, a limited edition recreation of Britt's button, and an exclusive preview of the series! Thank you!! Bonus episodes!! Spin-off episodes! (Often NSFW.) Dive into Mattachino Randy Wicker's archives with us! Mugs! Buttons! Books! Plus tons of other fun stuff! $1 or $3/month at Patreon.com/QueerSerial. Bonus episodes come right to your phone like any other podcast! If you're already a Patreon gal, click here to make those bonus episodes pop up in your regular podcast feed. Learn more about a “Freaking Fag Revolutionary” who was there in the ‘70s, Albert Williams, in his article here. Learn more about Dugan's Bistro, the legendary disco in Chicago, from my article here. Watch Bette Midler at the Continental Baths in 1971! Listen to Breck Ardery's “Gay & Proud” LP and watch Lilli Vincenz's documentary “Gay and Proud,” both from the first Christopher Street Liberation Day march here. Learn more about the Gay Activists Alliance zaps here! To learn more about Black Panther chairman Fred Hampton, watch “Judas and the Black Messiah.” Listen to Kay Lahusen's monthly gay table in her retirement community on Making Gay History. After the zap at Harper's magazine in response to their homophobia article, Merle Miller wrote this essay, “On Being Different,” for New York Times Magazine, which I highly recommend reading in its book form. To learn more about Marsha P. Johnson, watch “Pay It No Mind” and “The Death and Life of Marsha P. Johnson.” Read Sylvia Rivera's speech referenced in this episode, “Bitch on Wheels,” here. Listen to Sylvia talk about S.T.A.R. on Making Gay History here. Learn about the Weinstein Hall sit-in here, watch Marsha at the 1973 City Hall protest here, and watch Sylvia's legendary 1973 “Y'all Better Quiet Down” speech here.Teachers, message me for transcripts of the episodes! queerserial@gmail.com Looking for some reruns? Check out this handy dandy EPISODE GUIDE.

What do Bette Midler, Barry Manilow, Patti LaBelle, The Pointer Sisters, Andy Kaufman and Cab Calloway have in common? You might be surprised! Harley and KC explore the history and glory of the Continental Baths in New York City. Watch Bette Midler in rare footage of her performing at the Continental Baths in New York. https://youtu.be/UOrzpQeJyKISee pics and read all about the Continental Baths in the 1970s https://flashbak.com/a-night-at-new-yorks-banging-continental-baths-399561/www.EnormousPodcast.comEnormousPodcast@gmail.comVoice mail: 303.351-2880Twitter: @enormouspod

In this mid-month shorty edition, true to their tagline(telling stories about anything, everything and nothing in particular), Harley and KC natter about singing at weddings, Captain and Tennille, Bette Midler, Barry Manilow and the Continental Baths in Manhattan. They also share insight on what it can feel like to be an older gay man in an ageist community.

Like many of us, I am still reeling from the news that one of the guiding lights of swing passed away this weekend.  Dawn Hampton left us too soon at 88 years young - and I had the distinct privilege to call her my mentor and my friend.  She had the sharpest wit, the wisest soul, the warmest heart, and was also the biggest ham, of anyone I have ever known. If I am being completely honest, the potential of talking with Dawn was one of the very reasons I started this podcast.  So instead of my normally scheduled episode this month, I am re-releasing my conversation with Dawn, when we sat down in April 2015 not far from her East Village apartment in New York City. As I said on the original episode, it is no exaggeration to recognize Dawn as a National Treasure. Her amazing life began traveling from town to town of the American South in a carnival, singing and playing saxophone with the Hampton Family Band, followed by stints at Carnegie Hall, the Apollo Theater, and the Savoy Ballroom in New York City.  Dawn became a legend of the Greenwich Village Cabaret in the 60s, 70s, and 80s, coaching the likes of Bette Midler and singing alongside Barry Manilow at the infamous Continental Baths.  Only decades later did Dawn become a legend of another kind to swing dancers the world over, sharing her story and wisdom from Sweden to South Korea. I am struggling to find the words to describe the incredible woman who was my friend, but I think this excerpt from the New York Times review of her 1982 cabaret show perfectly captures what made Dawn, ‘The Lady’ - “In superficial terms, she is a singer. “But her voice, a strong but seemingly uncertain instrument full of quavers, growls, husky descents and high, shimmering airiness, is simply one element in a projection that is built even more on emotional intensity, high good humor, dramatics taken to almost corny extremes, zest and exuberance, all kept in such sensitive balance that one aspect adds flavor to another as she builds her songs into brilliant vignettes. “A key factor in the way Miss Hampton does things is a marvelously mobile, warmly expressive face that projects her lines even more than her voice does. Her huge, vital eyes and an unusually agile mouth can suddenly change, underline or add unexpected shading that cuts into the mood of a song to change the emphasis briefly, to lighten what threatens to be overly heavy dramatics. “Miss Hampton has a deep well of emotional energy and spends it recklessly and joyously.” That was the Dawn Hampton I know. She was a singer, a dancer, and a diva, but was also so much more and the world is a better place for having had her in it. A memorial fund is being organized to support Dawn's last wishes, and I'll update the show's website with that information as it comes out. I am grateful that I once again have the opportunity to share our conversation. As Dawn would say, The Light is On.

Bette Midler (1945-) är en artist som obesvärat har rört sig mellan bögklubbar, Broadway, biodukar och Billboardlistor de senaste fyrtio åren, plus. Hon tillhör de sällsynta artister som kan göra det mesta på en scen, med bravur. Nu är hon aktuell med sin första skiva på åtta år, Its the girls heter den och susade rakt in på den amerikanska försäljningslistan. I veckans STIL berättar vi mer om denna krutdurk till kvinna som kallats för den mest intagande, roligaste, vulgäraste, allvarligaste, mest behändiga, sämst klädda, personligaste, mest groteska person som struttat, ålat, skuttat, trippat, snubblat och kört elektrisk rullstol över en scen. Och det gjorde hon 1978. Före Lady Gaga. Ställer man frågan: ”Vad tänker du på om man säger Bette Midler”, får man de mest skiftande svar, lite beroende på den svarandes ålder. Somliga minns henne som skruvad komedienne i filmer som: På luffen i Beverly Hills, Hjärtlösa typer, Par i damer och så förstås – snyftaren Beaches, där Bette Midler även sjunger filmens tårdrypande temalåt: ”Wind beneath my wings. Den fick hon även en Grammy för, den utsågs till ”Årets skiva” 1990. Riktigt gamla och minnesgoda kanske även drar sig till minnes filmen The Rose. Och de som idag är redo att kvittera ut pension känner även till att hon en gång i tidernas begynnelse uppträdde på ”The Continental Baths” i New York, ett badhus som vände sig till homosexuella män. Det var där hon började blomma och bli till den allroundartist hon idag är – hon kan sjunga, dansa, skådespela och leverera skämt som får vuxna män att rodna.  Bette Midler har mycket riktigt blivit utnämnd till ”bögikon”. Det är hon inte ensam att kallas, även artister som Liza Minnelli, Marlene Dietrich, Zarah Leander och Diana Ross dras med eptitet. Men vad betyder det? Egentligen? Det benar vi ut i veckans program tillsammans med kulturskribenten Stefan Ingvarsson. Vi har även talat med komikerna Karin Adelsköld och Helena Sandström om det vanliga påståendet att kvinnor inte vinner lika mycket på att vara roliga och ta plats som män. Det stämmer väl inte, längre? Vi har även träffat artisten Zhala som, i likhet med Bette Midler, musikaliskt rör sig fritt mellan olika genrer. Veckans gäst är Christer Lindarw, kostymör och grundare av After Dark.

Tracklist #139 1.ILikeYou - PhylissNelson.ShepPettibone 2.Music - DTrain.FrancoisKevorlian 3.WhoIsHe – CreativeSource 4.Brah - Cymande 5.Pipeline - BruceJohnson.CurtBecher 6.RubyBaby – DonaldFagen – 7.WhereDoWeGoFromHere - Trammps (Atlantic) 8.TheMoreIGet - TeddyPendergrass 9.MySweetSummerSuite - B.White 10.CrankItUp – PeterBrown 11.UseItUpWearItDown- Oddyssey 12.WhenYouTouchMe - TaanaGardner RollingStone interview by Nick Murray May 9, 2014 4:10 PM ET When the Paradise Garage opened in 1977, it became — to quote DJ David Depino — the city's first "underground club," and its house DJ, Larry Levan, became a local superstar, mixing, blending and selecting records as no one had before. In advance of Sunday's block party outside the Garage's old Manhattan home and concurrent with a petition to rename that block as Larry Levan Way, Rolling Stone talked at length with three of Levan's alternate DJs — the aforementioned Depino, Joey Llanos and François K — about the impact of the club, the music that was played and memories of friendships with Levan. You were at the Garage since day one, right David? David Depino: Yes, since day one. I actually found the space. Can you tell me about that? Depino: I was friends with this DJ, Mario, and we worked together in this club in Brooklyn called Broadway. And Mario was Larry's boyfriend. And the first time I met Larry, Mario and I looked a lot alike. So from behind, he thought I was Mario when he came to this club and put his hands over my eyes and went, "Surprise!" And when I turned around he went, "Oh my god, I'm sorry. I thought you were Mario." So we hung out that night, talking. We went out to breakfast after the club closed, and he was talking about looking for a space. I told him I had gone to a club that was only open for a very short time. It was in between Christopher Street and Canal Street when I used to drive home to go to Brooklyn. I don't know exactly where. So the next time I was in the Village, I weaved up and down the side streets until I found it. And I gave Mario the address to give Larry, and he gave it to Larry, and Larry told Michael Brody, who I didn't know, about the space. They called up the real estate. And then before I know it, Mario told me they took it, Larry and Michael. And Mario was supposed to be the DJ on Friday and Larry was supposed to be the DJ on Saturday. But by the time they started the construction parties and everything, Mario and Larry went their separate ways. And I visited and Larry remembered me, and we started to be friends. Did the club arrive fully formed? Depino: The opening night was a disaster 'cause there was the big blizzard and the sound system arrived late. So by the time the sound system was hooked up and they were getting it ready to go, the club was supposed to open midnight. It didn't open till 2 o'clock in the morning. Everyone was on line freezing brutally with mountains of snow, and they we are all so upset that they never came back. François K: Remember maybe to mention that opening was really much after the unofficial… Depino: Oh right, they had construct parties for about a year in '76. There were four or five construction parties within a year. Maybe six. And that gave them the money to finish the rest of the club. But when it officially opened in January of '78, it was a disastrous opening, and Saturday took several years to build back up. Fridays were pretty good from the very beginning. What was being played at this time? Joey Llanos: I can tell you about the first time I learned about François. I knew about François, but I started paying attention to François because I was working security there. I was an electrician by trade, but I got the job as one of the bouncers and a night that sticks out in my mind was when François was doing the guest appearance at the Garage and he played — it was in the middle of his set, the room was packed, and he put on "And I Am Telling You I'm Not Going," that ballad from the Dream Girls, Jennifer Holliday track. And the whole room went insane. So that's when I discovered François. I said, 'Let me pay attention to this guy.' Then I found out he did [French disco band] Martin Circus, and that made me fall in love with him even more. Go ahead François, you wanted to say something? François K: I clearly, distinctly remember going to one of the construction parties in the fall of 1977. A friend of mine who I was working for at a club called New York, New York brought me there. He was also the guy who quit DJing at the Continental Baths, and just decided he was going home because he had enough of that. And they turned around to the light man, who was a dude named Larry Levan, and they told him to take over with the records. So that guy, Joseph Bonfiglio took me around to a new club that was opening. I remember it being in the back room and that it was pretty much the hottest party I had ever seen, even if it might not have been as fancy as some other clubs or as well put-together because they were still in construction. It was so strong — the energy was so powerful. It was so immediately obvious that this guy Larry had a whole different kind of energy going on. He had this real charismatic, driving sound that would just captivate people. It's like if you had a bunch of iron forks and spoons and stuff and suddenly you start putting magnets and everything's oriented a different way, that's what Larry could do to a group of people. It was insane. And that music, it was kind of hard to characterize. He could just as well be playing some Fela Kuti and Ginger Baker or he could playing some rock music. Pat Benatar. Even in those early years, he was favoring a great variety of things, some of which he was pretty faithfully carrying on the legacy of an entire generation of musicians, like old people from Philadelphia, like Teddy Pendergrass and the Jones Girls and so on and so forth. Lou Rawls, the O'Jays, and then there was also that funk sound like BT Express. Joey: If he was upset, you'd hear it in the music. If he was happy, you'd hear it in the music. If he came back from vacation in Brazil, you would hear an hour of Samba music. So you really didn't know, or it would be the Clash or the Police. When did it feel like a Garage sound really emerged? Joey: For me, Larry would make the records. Not that he actually made the record himself or produced it, but if it was a record that he liked, he'd play it four or five times throughout the night and make it a Garage record to where they would line up to a local record store, Vinyl Mania, and wait for it. I guess over the 10 years that that sound just became what people expected, you know? François K: I think the one thing worth noticing is he, Larry, had this ability. Like, let's say a lot of us DJs would be at the record store and picking through all the week's releases and everything. Those releases were whatever they happened to be that week. What was unique was that he really had this way of making that music his. It didn't have to have a specific sound to it; it could be very different things. It could be Italo-disco with a very electronic atmosphere, or it could be something with a real R&B/funk kind of vibe to it. Or it could be something that was very lush and orchestrated, something Ashford & Simpson — like. Or something that was very raw and completely unusual. But whatever it was, he had this way to incorporate that song and he would present it and work it and highlight certain parts of it and sometimes completely change the structure of it with a couple of copies. He would do all that in such a way that he would make the record his. Often times, after a couple of weeks of a new record — something everyone had heard but no one has bothered with — he was the only one who would pick a certain record and immediately, instantly made it his so from that point on, even that when the record came on, it was just another record. On the subject of Larry taking it further, I'm interested in the Peech Boys? I found their tracks on compilations, but I can't find any info on how they came together, how Larry brought them together. David: They were a group named "Snatch"; they were like a rock cover band. My friend, David Lizotta, met Michael de Benedictus one night and brought him to the garage and introduced him to me when he brought him up to the DJ booth, and in turn introduced him to Larry. They started talking and Larry found out he was a keyboard artist and Larry said, "Oh, wow. Do you play this kind of music?" Michael said, "Not really, but I'm loving what you're playing." And Larry was getting ready to do a mix for West End and said, "I need a keyboard player to do some overdubs, " and brought Michael into the studio. Michael did some overdubs and they clicked. And from that, they wanted to make some dance music other than what they did make, which was rock. That kind of started the relationship and the group later became the Peech Boys and the rest was history. Even François played with them, one time, on drums. In the meat freezer, in Michael's loft, his little studio. That was the first time I realized François could play the drums. I had no rhythm, so they gave me the triangle. The production on "Don't Make Me Wait," the way the handclaps echo, sounds almost dubby. Like something you'd be into, François. David: The handclaps were an accident. When they loaded them in, somehow, it went backwards. They were looking for something, and the moment that handclaps came on backwards, Larry jumped up and said, "That's it!" and everybody looked at him like, "What are you talking about? That's a mistake." Larry said, "That's it, that's the hook. People will scream from the first backwards hand-clap." François K: The thing that was truly uncanny about Larry Levan — all geniuses, all really special artists, have this astounding ability to suck whatever it is around them and bring together all these ideas or influences or trains of thought. And maybe people such as myself were favoring sort of an electronic sort of sound, a lot of stuff like that, which was incorporated into the mixes we did because we had a lot of room to do that, but I think he picked up on that right away. You said it took a little while for Saturday at the Garage to pick up? When did what Larry was doing there start to influence the rest of New York? When did people start to catch on? François K: Ten minutes? [laughs] David: I think Larry's relationship with the Garage was sort of symbiotic — the Garage helped make Larry and Larry helped make the Garage. When both of them started happening, record companies heard what he was doing and he started doing more and more mixes and it became the perfect storm. All three: the mixing, the playing, the club. All of them started to blossom at the same time. Larry started to have an effect on people, but he never wanted to or never tried to. Larry was just Larry. As soon as Larry felt he had responsibility, he hated it because he just wanted to play records and have fun and have his friends around him. I remember one night Stevie Wonder came and Larry made him wait an hour and a half before he played his record. And never went over to say hello to him until he was putting his coat on to leave. I said, "Go over and say hello to him!" and he'd go, "I'm playing — I can't be bothered." I said, "It's Stevie Wonder!" He said, "I know!" François K: To me, the thing that was really significant is, as Joey was saying before, the first phenomenon you had was a few record stores in the Village that were specifically open early morning — including Sunday morning — after the Garage closed. And that translated into people like Frankie Crocker, the programmer for WBLS, he would come there and suddenly he would pick up on one of these songs. Now you had this radio station in a major market putting on a song that would not be released for three or four months, and putting it into hot rotation, which means it would be played six, seven, eight times a day. Hundreds and hundreds of people mad at this song you couldn't buy. I remember once, Larry gave Frankie a test-pressing of something and said, "Frankie, this record ain't coming out for another couple of weeks. Please don't play it because the record company already told me." And Frankie said, "Oh, no, I'll wait a couple weeks." The very next day, he played it. We were in my car and Larry put his hand on his head and said, "I'm in so much trouble." David: And Frankie would say, "I heard this last night at the Garage." François K: It had this effect on culture. This was something that was truly a phenomenon. There was nothing you could compare it to. It was this wildfire, powder-keg effect, and we saw it happen in front of our eyes. That's what Larry Levan did. It just spread out not just in the city, but on to England and the rest of the country. Read more: http://www.rollingstone.com/music/news/three-disco-greats-on-larry-levans-life-and-legacy-20140509#ixzz35eliNzCY Follow us: @rollingstone on Twitter | RollingStone on Facebook

Track List: 01-Time (Frankie Feliciano Classic Vocal Mix) by The Realm feat. Tony Momrelle 02-Hangin' On ( Frankie Feliciano Vocal Mix) by Ananda Project 03-Every Breath (Director's Cut Classic Mix) by Inaya Day 04-Conqueror (Frankie Feliciano Vocal Mix) 05-Lose My Worries (Ralf Gumm Mix) by Inaya Day 06-Let Yourself Go (A Director's Cut Master) by Frankie Knuckles presents Director's Cut feat. Sybil 07-Fable (Director's Cut Classic Dub Reprise) by Lil Louis 08-Get Over U (Rober Gaez Moustache Mix) by Frankie Knuckles presents Director's Cut feat. B.Slade 09-Love Forever More (UBP Dub Mix) by Bobby D'Ambrosio 10-He Is The Joy (UBP Prime-Time Dub) by Donna Allen 11-About Love by Groove Assassins feat. Kenny Bobien 12-Someone Like You by Soulmagic 13-Golden Era (Director's Cut Golden Episodic Mix) by David Morales feat Roisin Murphy Biography: “When you're as fortunate as most of us working DJs to be able to share our creative blessings with the rest of the world, no matter how great or small, wouldn't you agree that it's best to give the world the best of who you are?” – Frankie Knuckles Nicknamed “The Godfather of House,” Frankie Knuckles is known as a true originator of the House Music genre. Some of his numerous accomplishments as a DJ, artist and remixer over the last 30+ years are as follows: • In the early 70’s Knuckles DJ’d at the infamous Continental Baths in New York City. • Moving to Chicago in the late 70’s he became the resident DJ at The Warehouse until it closed in 1983 • Along with contributing to the birth of House Music in the mid 80’s, Knuckles began his production career with remixed versions of “LET NO MAN PUT ASUNDER” by First Choice. • While on tour in Japan, Knuckles met DJ Satoshi Tomiie. The pair collaborated on the track “Tears” which was released on ffrr / Polygram UK. The song has since become a classic. • After moving back to New York, Frankie Knuckles joined Def Mix Productions in 1988 and formed a partnership with David Morales and Judy Weinstein. • While signed to Virgin Records Frankie Knuckles released the album Beyond The Mix. The album’s first release, “The Whistle Song,” reached #1 on the Billboard Dance chart and Top 5 on the UK Pop Chart. This success led to a performance on the infamous Top of the Pops TV show. The track was also featured in a Lipton Iced Tea ad campaign produced for 1992 Summer Gay Games in New York City. • Sophomore album, “Welcome to the Real World,” was released on Virgin Records in 1995. • Resident DJ at The Sound Factory Bar nightclub in New York City until its closing in 1996. • 1997 Grammy Award Winner for “Remixer of the Year” – first recipient of this award • Honored in Chicago for his contributions to music and to his adopted home with a street named “Frankie Knuckles Way” was established on “Frankie Knuckles Day” August 26th, 2004. • Frankie Knuckles 2004 album, A New Reality, featured the track, “Back in da Day,” which hit #1 on Billboard’s dance chart. • Knuckles has remixed and/or produced for such artists as Mary J. Blige, Sounds of Blackness, Michael Jackson, Janet Jackson, Diana Ross, Luther Vandross, Michael Bolton, Toni Braxton, Whitney Houston to name a few. Recently he received high praise for his remixes of Hercules and Love Affair’s “Blind”. Depeche Mode’s “Wrong” and Whitney Houston’s Million Dollar Bill. • Served as a Governor and Trustee for the NYC Chapter of The National Academy of Recording Arts & Sciences. WE REBROADCASTING THIS MIX IN HONOR OF FRANKIE KNUCKLES. THANKS FOR ALL 'GODFATHER'!!! REST IN PEACE FK ALWAYS!!!

Mozart: Zeffiretti lusinghieri (from Idomeno), Ach. ich fuehl's (from Die Zauberfloete), Come scoglio (from Cosi fan tutte). Charpentier: Depuis le jour (from Louise). Puccini: Quando m'en vo (from La boheme). Massenet: Scene and Gavotte (from Manon). Sieczynski: Wien, du Stadt meiner Traeume. Kreisler: Stars in My Eyes. Lehar: Medley from The Merry Widow. Puccini: Vissi d'Arte (from Tosca). Edwin Biltcliffe, Piano; Joseph Rabb, Violin. October 4, 1973.